r - 

xo _ 

Tfels  Ijoolt  Ibeloaigs  iaa  Alae  JLil»a*aa*y  of 

If  borrowed  by  a  friend 

Right  welcome  shall  he  be , 

To  read  and  learn,  but  not  to  lend, 

But  to  return  to  me: 

L===== 

Not  that -I  grudge  to  spread  abroad, 

My  stock  of  learned  store. 

But  books,  I  find  when  once  ^relent, 

Return  to  me  nojunore. 

Digitized  by  the  Internet  Archive 
in  2018  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/needlesbrusheshoOOeyre_O 


NEEDLES  AND  BRUSHES 

AND  HOW  TO  USE  THEM 

A  MANUAL  OF  FANCY  WOEK 

SY 

JANE  EYRE 

CONTAINING  DIRECTIONS  FOR 

EMBROIDERING  PAINTING  MODELLING 
CARTING  Etc 


CHICAGO  AND  NEW  YORK 
BELFORI),  CLARKE  &  CO, 
1887 


COPYRIGHT : 

BELFORI),  CLARKE  &  CO., 
1887.  ' 


THE  GETTY  CENTER 


INTRODUCTION. 


I  like  the  old-fashioned  term  “fancy-work,” 
because  it  is  such  a  true  word.  To  many  a  woman 
whose  life  is,  of  necessity,  spent  chiefly  in  the  pur¬ 
suit  of  very  prosaic  and  wearing  duties,  the  paint¬ 
ing  of  a  tile,  the  working  or  knitting  of  a  bit  of 
lace,  the  copying  of  a  flower  in  silk  or  worsted, 
is,  indeed,  fancy  work.  It  is  a  little  opening  into 
the  ideal  world,  which  does  her  untold  good,  and 
which  serves  to  brighten  and  cheer  long  days  of 
plain  sewing,  sweeping,  dusting,  etc. 

In  preparing  this  manual,  my  aim  has  been  to 
give  such  a  variety  of  directions  and  hints,  that 
something  may  be  found  to  suit  every  taste.  And 
while  I  have  endeavored,  at  the  risk  of  being 
blamed  for  undue  prolixity,  to  make  my  direc¬ 
tions  extremely  plain  and  practical,  I  have  tried 
to  make  them  also  suggestive.  I  hope  this  book 
may  be  to  many  a  guide  post  pointing  on  to 
pleasant  fields  not  described  in  it. 

I  have  tried  to  make  my  directions  thoroughly 
reliable,  having,  in  most  instances,  verified  them 
as  I  wrote.  As  far  as  possible,  I  have  avoided 
technical  terms,  thinking  simplicity  desirable.  I 
am  particularly  indebted  to  Mrs.  Glaister’s  book 
on  Art  Embroidery,  to  the  Art  Interchange,  and 
to  Mr.  C.  G.  Leland,  of  the  Philadelphia  Industrial 

3 


4 


Introduction. 


School,  who  very  kindly  responded  to  my  request 
for  information. 

The  chapters  on  Decorative  Design,  Repoussee 
Work,  Leather  Work,  and  Papier-Mache,  derive 
most  of  their  authority  from  the  writings  of  the 
latter  gentleman.  I  would  advise  any  one  inter¬ 
ested  in  these  subjects  to  consult  Mr.  Leland’s 
Manuals,  which  are  written  with  an  enthusiasm 
and  clearness  most  inspiring. 

Much  care  has  been  exercised  in  selecting  the 
illustrations,  none  being  given  which  cannot  easily 
be  understood  by  the  aid  of  the  directions. 

In  conclusion,  I  would  beg  my  readers  to  bear 
in  mind  that  success  in  any  work,  whether  deco¬ 
rative  or  otherwise,  cannot  be  achieved  at  once. 
The  old  adage,  “Make  haste  slowly,”  has  lost 
none  of  its  force. 


V 


TABLE  OF  CONTENTS. 


PAGE 

Introduction .  3 

Decorative  Design . 7 

Embroidery . 13 

Painting  in  Oils . 56 

Flower  Painting  in  Water  Colors .  64 

Kensington  and  Lustra  Painting . 69 

Stencilling . 74 

Wood  Carving .  80 

Modelling  in  Clay .  86 

Casting  in  Plaster . ■ .  89 

Modelling  in  Gutta-Percha .  97 

China  Painting . 103 

Leather  Work  and  Papier  Mache . 125 

Repoussee  Work . 142 

To  Transfer  Patterns . 150 

Netting  . 163 

Guipure  d’Art . 1®® 

Drawn  Thread  Work . 179 

Macrame . 191 

Crochet . 29® 

Knitting . 245 

Odds  and  Ends . . . .  •  •  . . 289 


(5) 


DECORATIVE  DESIGN 


I  fear  many  will  look  at  the  heading  of  this  chapter 
with  the  feeling  that  it,  at  least,  will  be  of  no  value  to 
them.  But  I  would  ask  them  to  pause  before  they  turn 
to  what  they  will  probably  call  the  more  practical  parts 
of  this  manual;  for  the  subject  treated  here  lies  at  the 
very  foundation  of  any  work  we  may  wish  to  do  with 
needles  and  brushes. 

I  would  like  to  impress  upon  all  who  wish  to  perfect 
themselves  in  decorative  work  the  advantage  of  learning 
to  draw  and  adapt,  even  if  they  do  not  invent  their  own 
designs.  And  this  is  a  much  easier  thing  to  do  than 
many  think.  I  well  remember  the  semi-despair  that 
seized  me  when  taking  my  first  lesson  in  china  painting, 
at  being  told  by  my  instructor  to  draw  what  I  wanted  to 
paint.  However,  I  found  that  by  combining  one  or  two 
flowers  together,  I  had  made  what  seemed  then  to  me  a 
very  pretty  design.  And  I  have  often  thought  that  was 
about  the  most  valuable  lesson  I  ever  received,  for  it 
showed  me  what  could  be  done  by  effort,  and  encour¬ 
aged  me  to  depend  on  myself  instead  of  on  tracing 
paper.  So  much  for  a  personal  experience.  Let  me 
quote  a  high  authority  on  this  subject,  Mr.  Lelaud,  of 
the  Philadelphia  Industrial  School.  In  his  “  Manual  of 
Drawing  and  Decorative  Design”  (a  most  suggestive 
and  helpful  pamphlet),  he  says: 

rtThe  first  thing  for  the  pupil  to  do  is  to  become  famil¬ 
iar  with  the  lead  pencil.  I  say  the  lead  pencil — though 
if  a  black-board  is  accessible,  it  is  to  be  insisted  on  that 

7 


8 


NEEDLES  AND  BRUSHES 


all  that  is  done  with  the  pencil  shall  also  be  practised  with 
chalk.  Free-hand  drawing  cannot  be  too  free.  The 
hand,  practised  to  sweep  boldly  yet  steadily  in  spirals, 
circles  and  curves,  can  be  trained  in  a  short  time  to  a 
rapidity  of  execution  and  an  unerring  accuracy  which 
seein  miraculous  to  many.  Let  us  consider  how  this  is 
to  be  acquired.  The  beginner  should  take  a  lead  pencil, 
not  too  soft,  an  H.  or  IT.  B.  (hard  or  medium)  will  do. 
Practice  for  some  days  on  a  ground-glass  slate,  such  as 
costs  from  twenty-five  to  fifty  cents,  tracing  the  outline 
pictures  which  are  sold  with  such  slates . In  trac¬ 

ing  the  outline  pictures  draw  very  slowly  indeed  at  first. 

.  .  .  .  Draw  with  the  point  of  the  lead,  not  with  its 

side . After  practising  on  the  slate  until  you  feel 

familiar  with  the  pencil,  get  some  transparent  paper, 
through  which  an  ordinary  outline  picture  can  be  plainly 
seen.  Now  trace  with  increased  care.” 

When  the  mastery  of  the  pencil  has  been  so  far  at¬ 
tained  that  you  can  draw  a  firm  but  light  sweeping  line, 
you  can  begin  copying  good  outline  sketches,  say  a  sim¬ 
ple  spray  of  leaves.  The  next  step  may  be  taken  by  ar¬ 
ranging  the  leaves  in  a  circle,  or  along  a  line  of  con¬ 
struction  formed  by  drawing  semi-circles  or  segments 
of  circles  alternately  above  and  below  a  horizontal  line. 
If  you  find  difficulty  in  doing  this,  cut  your  leaves  out  in 
paper  and  arrange  them  on  your  construction  line. 
Trace  the  outlines,  and  repeat.  Inclose  the  design  thus 
formed  within  parallel  lines  and  the  result  will  be  a  de¬ 
sign  for  a  border.  For  a  centre  piece  you  would  need  a 
different  method.  Draw  a  circle  or  ell  ipse  of  the  size 
required.  Draw  horizontal  and  perpendicular  diameters 
through  this,  and  arrange  your  leaves  on  these  lines,  or 
else  arrange  them  in  a  wreath  on  the  curved  line.  Mr. 
Leland  recommends  a  little  affair,  made  somewhat  on  the 
principle  of  a  kaleidoscope  to  help  in  getting  the  idea  of 
symmetrical  and  pleasing  combinations. 


AND  now  TO  USE  THEM. 


% 


“  Obtain  two  strips  of  looking  glass,  each  two  inches 
wide  and  six  inches  long.  Paste  their  backs  on  a  single 
piece  of  tough  paper,  or  muslin,  which  may  just  be  brought 
over  the  edge  to  prevent  cutting.  Do  this  so  that  the 
glasses  will  open  and  shut  like  a  portfolio.  Now  take 
any  small  drawing  of  any  kind  whatever,  an  outline 
sketch  of  a  leaf  being  the  best,  stand  the  glasses  up¬ 
right  at  an  equal  |  angle,  and  put  the  small  design 
between  them.  By  the  figure  formed  by  the  reflections 
it  may  be  seen  that  any  design,  however  meaningless  or  ir¬ 
regular,  becomes  symmetrical  as  a  part  when  it  is  accurately 
repeated  in  union  with  itself." 

Practice  drawing  a  spiral  line,  for  it,  in  varied  combi¬ 
nation,  is  the  foundation  of  graceful  design.  “The  first 
step  after  repeating  simple  designs,  is  to  evolve  the  off¬ 
shoots  or  transcendental  curves,  or  long  Y’s  from  a 
spiral.” 

Study  of  a  good,  conventional  design  with  an  endeavor 
to  discover  its  “  motive  ”  or  foundation  line  will  aid  one 
much  in  forming  combinations  of  their  own. 

The  same  general  directions  will  aid  one  in  forming 
less  conventional  designs.  Study  beautiful  forms  in 
nature.  If  you  cannot  copy  them  directly  from  the 
object,  draw  them  from  good  outlines,  using  tracing- 
paper  if  necessary.  It  will  not  belong  before  you 
throw  aside  this  aid,  and  trust  to  your  own  resources. 
And  as  your  power  over  your  pencil  grows,  your  in¬ 
terest  in  your  work  will  also  grow.  Magazines  and 
papers  will  constantly  yield  you  new  suggestions.  A 
portfolio  or  box  will  soon  be  needed  to  contain  your 
collection  of  “  hints.”  Nature  even  will  acquire  a  new 
interest  to  you.  Copy,  whenever  you  can,  anything  that 
strikes  you  as  really  good.  Your  taste  will  be  educated 
in  the  process.  By  no  means  neglect  to  make  copies  of 
letters,  either  quaint  or  pretty.  Your  reading  will  soon 
be  taxed  for  the  benefit  of  your  new  pursuit.  To  say 


NEEDLE, 5  AJMV  &  RUSHES. 


nothing  of  books  bearing  directly  on  the  subject,  such  as 
the  works  of  Owen  Jones,  Whewell,  Busser,  etc.,  quaint 
or  peculiarly  appropriate  mottoes  will  be  seized  on  with 
avidity,  either  suggesting  a  design  or  illustrating  one 
already  in  band. 

But  in  designing  you  must  bear  in  mind  the  fact  that 
you  must  work  always  within  certain  limitations.  Abso¬ 
lute  imitation  of  nature  is  impossible  in  decorative  art. 
It  is  one  of  the  principles  most  to  be  insisted  on,  that 
decoration  is  not  picture  making.  It  must  not  detract 
from  the  original  usefulness  of  the  object  decorated.  It 
also  must  be  limited  by  the  material  in  which  the  design 
is  to  be  executed.  Thus,  in  needle-work,  the  character¬ 
istic  outlines  of  a  flower  are  all  that  should  be  attempted. 
In  working  a  pink  or  a  corn-flower,  for  instance,  it  would 
be  folly  to  imitate  closely  the  notched  edges  of  the  pet¬ 
als.  The  fact  that  they  are  serrated  can  be  indicated  by 
a  few  lines.  In  like  manner  the  veins  should  be  sug¬ 
gested  rather  than  closely  copied. 

Again,  the  design  should  be  clear  and  free.  Leaves 
which  are  naturally  crowded  and  overlap  each  other 
should  be  so  far  conventionalized  as  to  lie  flat  and  dis¬ 
tinct.  While  we  may  alter  the  arrangement  of  leaves 
and  flowers  to  suit  our  purpose  to  a  certain  degree,  we 
must  remember  that  the  character  of  the  plant  form 
must  always  be  maintained.  We  may  make  a  trailing  or 
wreath-like  design  of  the  ivy,  rose,  or  blackberry,  be¬ 
cause  nature  herself  suggests  such  a  use.  But  a  wreath 
formed  of  tulips,  daffodils,  or  calla-lilies  would  be  a  sad 
mistake.  The  upright  flowers,  are,  however,  very  useful 
for  such  purposes  as  borders,  mantel  balances,  etc.;  but 
when  thus  used,  the  flowers  should  always  be  supported 
and  bound  together,  in  a  manner,  by  one  or  more  hori¬ 
zontal  lines  of  decorative  work.  If  for  a  border,  lines 
above  as  well  as  below  the  design  serve  to  emphasize  it 
and  throw  it  out.  The  same  effect  is  produced  by  work- 


AND  HOW  TO  USE  THEM. 


11 


lng  the  design  on  a  separate  strip  of  material  and  apply¬ 
ing  it  to  the  piece  of  work  to  be  decorated. 

I  have  dwelt  a  little  at  length  on  this  subject  because 
so  many  of  the  decorative  arts  are  dependent  on  it.  In 
fact,  I  doubt  if  any  ever  attain  too  much  excellence  in 
certain  departments  of  ornamental  work,  without  finding, 
through  much  tribulation,  that  they  must  learn  to  draw. 

One  caution  in  closing.  Do  not,  until  you  have  prac¬ 
tised  for  a  long  time,  attempt  to  draw  from  memory. 
Have  the  form  which  is  the  foundation  of  your  design 
before  you,  remembering  always  that  no  matter  how 
much  you  may  conventionalize  that  form,  the  character¬ 
istics  of  the  original  must  be  preserved. 

Let  me  add  a  word  of  encouragement  taken  from  the 
Manual  quoted  above.  “  If  a  beginner  can  only  draw  a 
line  half  an  inch  long,  in  a  clean,  well-defined  manner, 
and  with  confidence,  he  may  hope  to  do  anything  in  art,” 
and  “  My  own  experience  warrants  me  in  declaring,  that 
grown-up  people  learn  to  draw  much  more  rapidly  than 
children,  since  they  have  better  memories,  stronger  will, 
and  far  more  perseverance.” 


I 


EMBROIDERY. 


In  selecting1  materials  for  embroidery  it  is  well  to  re¬ 
member  that,  as  this  kind  of  work  is  very  durable,  the 
best  are  always  the  cheapest. 

The  foundations  usually  employed  are  linens  of  vari¬ 
ous  makes,  including  crash,  Bolton  sheeting  (an  English 
fabric  whose  place  can  be  supplied  here  by  an  unbleached 
cotton  knit  called  Wamsutta  twill),  Monde  cloth,  both 
in  wool  and  cotton,  canton  flannel,  serge,  felt,  satin,  vel¬ 
vet  and  plush. 

The  materials  with  which  the  work  is  done  are  as 
varied.  Marking  cotton,  crewels,  the  many  varieties  of 
embroidery  silk,  arrasene  (a  kind  of  chenille),  gold  and 
silver  thread,  and  bullion,  are  all  used. 

In  planning  apiece  of  work  there  are  several  things  to 
be  taken  into  consideration.  The  use  for  which  the  arti¬ 
cle  is  designed  must  govern  largely  the  choice  of  the 
material.  It  would  be  absurd  to  use  silk  or  velvet  for  a 
bureau  cover,  or  crash  for  a  banner  screen.  For  this 
reason  the  tidies,  which  have  been  so  fashionable  of  late, 
thrived  of  squares  of  painted  satin,  set  together  with 
lace  always  strike  me  as  in  bad  taste.  Darned  net, 
drawn  work,  flue  linen  sketched  with  indelible  ink  or 
worked  in  outline,  would  make  equally  dainty  tidies, 
while  the  fact  that  they  can  be  easily  laundried  makes 
their  name  seem  no  longer  a  misnomer.  Again,  the  ma¬ 
terial  with  which  we  work  must  be  adapted  to  the  foun¬ 
dation.  Crewel  would  be  out  of  place  on  handsome  silks 
and  satins,  but  is  very  suitable  for  all  the  varieties  of 

12 


AMD  HOW  TO  USE  THEM. 


13 


linen,  cotton,  and  woollen  goods.  A  judicious  use  of  a 
few  stitches  of  silk  will  often  add  wonderfully  to  the 
brilliancy  of  crewel  work. 

Filofloss  and  etching  silks  are  both  admirable  for  work¬ 
ing  outline  designs  ou  linen. 

Etching  silk  works  best  when  you  use  it  as  it  comes 
from  the  spool:  that  is,  thread  your  needle  before  cut- 


Fig.  1. 

ting  off  the  silk.  Used  in  this  way,  it  is  not  so  apt  to 
untwist  or  knot. 

There  are  quite  a  number  of  stitches  employed  in  em¬ 
broidery,  but  only  a  few  are  generally  used.  Of  these 


14 


NEEDLES  AND  BRUSHES 


the  most  important  is  what  is  generally  called  outline  or 
stem  stitch.  It  is  extremely  simple,  being  merely  a  kind 
of  back-stitch,  which  can  easily  be  understood  from  the 
desigus  in  this  stitch— as  in  Figs.  1  and  2.  Very  tine 
lines  are  sometimes  worked  in  what  is  called  split  stitch 
in  which  the  needle  is  brought  out  so  as  to  split  tie 
thread  instead  of  coming  to  one  side.  The  main  beauty 


Fig.  2. 


of  outline  work  consists  in  the  design,  which  should  be 
well  studied  and  drawn,  and  in  the  perfect  neatness  of 
the  execution.  Although  a  diyersity  of  colors  are  some¬ 
times  employed,  as  a  rule,  one  or  two  shades  of  a  single 
color  will  give  the  most  satisfactory  results.  It  is  very 
important  in  outline  work  to  keep  the  stitches  as  far  as 
possible  of  the  same  length,  and  to  follow  the  outline  ex- 


AND  NOW  TO  USE  THEM. 


14 


actl  y.,  An  irregular,  waving  line  has  as  disagreeable  an 
effect  as  a  weak  line  in  drawing.  Judgment  also  must 
be  exercised  in  turning  corners,  working  foliage,  etc. 
The  distance  must  be  measured  with  the  eye,  and  the 
stitches  so  adjusted  as  to  avoid  a  sudden  shortening  or 
lengthening  of  the  stitch.  Care  must  be  taken,  too,  to 
have  the  outliue  lie  perfectly  flat.  Too  loose  a  stitch 
will  give  a  slovenly  appearance;  too  tight  a  one  will 
draw  up  the  material.  Always  work  with  a  short  thread, 
as  otherwise  the  silk  or  crewel  will  inevitably  become 
rough.  Avoid  making  knots  in  the  back;  a  little  prac¬ 
tice  will  enable  one  to  begin  and  end  a  line  so  as  to  look 
neatly  in  the  back.  Never  work  with  too  small  a  needle, 
as  it  will  drag  the  material,  and  produce  an  unpleasant 
effect.  A  Kensington  needle  is  the  proper  one  to  use. 

One  great  advantage  which  outline  work  possesses  is 
its  adaptability  to  so  many  articles  of  every-day  use,  and 
the  good  results  which  are  attainable  with  a  compara¬ 
tively  slight  expenditure  of  time  and  money.  For  out¬ 
line  work  the  less  expensive  materials  should  be  selected 
for  foundations.  e 

A  good  piece  of  work  to  begin  with  is  a  set  of  d’oylies, 
for  which  designs  like  Fig.  1  are  well  adapted.  They 
may  be  worked  in  linen  sheeting— that  a  yard  and  a  half 
in  width  cuts  to  the  best  advantage.  For  a  dozen 
d’oylies  you  will  need  half  a  yard  and  one  inch.  It  is 
far  better  always  to  shrink  washing  material  before 
working  it.  This  is  best  done  by  washing  it  in  hot  suds, 
rinsing  it  through  two  waters,  and  then  boiling  it  for  ten 
or  fifteen  minutes.  Rinse  again  in  cold  water,  dry,  and 
iron  until  it  is  perfectly  smooth.  Cut  by  a  thread  into 
small  squares,  a  quarter  of  a  yard  each  way.  They 
should  be  fringed  all  around  about  seven-eighths  of  an 
inch  deep,  but  it  is  best  to  do  this  fringing  when  the 
rest  of  the  work  is  completed.  The  edges  of  the  d’oylies 
should  be  hemstitched,  so  as  to  hold  the  fringe  in  plaee.  A 


10 


NEEDLES  AND  BRUSHES 


narrow  border  of  drawn  work,  the  directions  for  which 
will  be  found  under  the  head  of  drawn  work,  will  be  a 
great  improvement. 

Having  transferred  the  pattern  (which  in  case  of  the 
fans  should  be  placed  in  the  corner,  according  to  one 
of  the  methods  given  elsewhere),  the  next  question  is, 
“  With  what  shall  it  be  worked  ?  ”  If  the  linen  is  heavy 
crewels  may  be  used,  although  a  better  effect  will  be 
obtained  by  using  etching  silk  or  filoselle,  a  kind  of 
silk  which  is  inexpensive,  works  easily,  and  has  the 
merit  of  not  fading.  Marking  cotton  is  also  sometimes 
used.  As  to  color,  that  must  be  left,  in  great  part,  to 
the  taste  of  the  worker.  Monochrome,  that  is,  work  in 
one  or  more  shades  of  a  single  color,  is  always  a  safe, 
and  to  many  tastes,  the  more  truly  artistic  treatment. 
If,  however,  several  colors  are  used,  one  rule  is  impera¬ 
tive,  never  use  more  than  three  bright  shades.  The 
more  sober  tints  may  be  used  in  greater  profusion. 

Outline  embroidery  can  be  varied  by  using  it  in  con¬ 
nection  with  applique  work.  For  a  watch  pocket  or 
small  banner  screen  for  a  lamp,  the  design  could  be 
worked  in  outline  on  silk,  then  cut  out  and  appliqued 
on  a  piece  of  felt,  the  edges  being  button-holed  or  chain- 
stitched  with  gold  thread. 

As  an  instance  of  what  may  be  done  in  this  way,  I 
quote  a  description  of  a  tidy  which  an  eminent  authority 
on  decorative  work  describes  as  “  simple  and  unassum¬ 
ing,  but  in  its  way  artistic.” 

“  One  of  these  was  a  long  strip  of  Momie  cloth,  in¬ 
tended  to  be  thrown  over  the  back  of  a  sofa.  On  this 
three  dircks  were  worked  in  outline  in  brown  crewel. 
They  were  standing  on  a  brown  ground,  which  was  repre¬ 
sented  by  a  piece  of  brown  cloth,  applied  to  the  gray; 
in  one  corner,  up  above  the  ducks,  was  a  large,  very 
much  conventionalized  sun,  manufactured  out  of  yellow 
cloth,  and  the  rays  worked  from  it  in  yellow  silk.” 


AND  HOW  TO  USD  THEM. 


17 


Designs  for  outline  work  may  be  fouijd  in  great  num¬ 
bers  in  the  periodicals  of  the  day.  “  St.  Nicholas  is,”  as 
an  enthusiastic  young  friend  once  said,  “a  perfect 
mine  !  ” 

Powdered  designs  have  been  very  popular.  In  this 
style  of  work  a  plant  form  is  taken  as  the  foundation  of 
the  desigu,  and  varieties  of  this  form  are  scattered  ap¬ 
parently  carelessly  over  the  entire  material.  Take  the 
rose  as  an  instance.  Here  will  be  a  leaf,  there  again  a 
small  spray;  a  rose— single,  for  double  flowers  are  out  of 
place  in  outline  work — or  perhaps  a  bud,  will  be  worked 
at  seemingly  irregular  distances;  but  these  must  all  be 
arranged  carefully  so  as  to  balance  one  another,  and  pre¬ 
sent  a  harmonious  effect.  It  is  just  the  difference  be¬ 
tween  disorder  and  “pleasing  confusion.” 

Lately  a  modification  of  this  design,  called  “crackle' 
work,”  has  become  popular.  In  this  work  the  powdered 
flowers,  leaves,  or  fruit,  are  connected  by  straight  lines 
meeting  each  other  at  various  angles.  I  saw  at  the 
rooms  of  the  Society  of  Decorative  Ait,  the  other  day,  a 
set  of  charming  doileys,  worked  in  shades  of  silk  in  this 
way:  They  were  worked  on  exquisitely  fine  linen,  and 
bordered  with  drawn  work.  Bureau  and  buffet  scarfs 
may  be  decorated  in  this  way,  either  by  working  the 
crackle  work  over  the  entire  surface,  or  with  a  border  of 
work  at  either  end.  Care  should  be  taken  not  to  draw 
the  lines  too  closely  together,  as  boldness  is  an  essential 
in  these  designs.  The  idea,  like  so  much  of  our  decora¬ 
tion,  comes  from  Japan,  and  is  said  to  have  been  sugges¬ 
ted  by  the  effect  produced  by  plum  blossoms,  nipped  by 
a  late  frost,  falling  on  thin  and  cracked  ice.  It  is  an 
illustration  of  how  Nature,  closely  studied,  will  reward 
her  votaries  with  many  an  unexpected  gift. 

A  useful  present  for  a  gentleman  is  a  pipe  rack.  It  is 
made  of  a  piece  of  linen  lined  with  some  brightly  colored 
silk,  and  suspended  from  the  wall  by  three  ribbon  loops. 


18 


NEEDLES  AND  BRUSHES 


At  the  top  outline  two  interlaced  pipes,  and  below,  quite 
in  the  centre,  fasten  on  a  band  of  some  stiff  material,  di¬ 
vided  into  compartments  by  rows  of  strong  stitching. 

To  protect  a  handsome  sofa  pillow,  a  charming  and 
serviceable  cover  can  be  made  of  a  square  of  linen,  edged 
with  lace,  and  bordered  below  the  hem  with  a  drawn 
work  design.  Divide  the  centre  into  smaller  squares  by 
bauds  of  drawn  work.  Powder  the  small  squares  with 
tiny  clover  blossoms  and  sprays.  A  good  effect  is  some¬ 
times  produced  by  working  the  blossoms  solidly  (direc¬ 
tions  for  which  work  will  be  found  in  the  chapter  on  that 
subject)  and  outlining  the  leaves. 

Bands  of  Turkey  red  or  blue  denim,  form  good  back¬ 
grounds  for  etchings,  in  white  linen  lioss.  The  band 
can  be  feather-stitched  on  tine  unbleached  crash.  Kate 
Greenaway  figures  are  very  appropriate.  Sometimes 
two  of  these  bands  are  used,  the  space  between  being 
finished  in  drawn  work,  or  in  darned  work  in  red  or  blue 
washing  cotton. 

A  tea  tray  cloth  is  a  pretty  addition  to  the  tea  table, 
and  is  also  useful  when  the  tea  tray  is  brought  into  the 
parlor.  They  may  be  made  like  scarfs,  worked  only  at 
the  ends,  or  designs  can  be  worked  in  the  corners  or  the 
centre.  Drawn  work  is  often  used  in  these  cloths.  Ap¬ 
propriate  designs  are  cups  and  saucers,  tea-pots,  etc. 
Decorative  patterns  should  be  sketched  on  the  cups, 
etc.  Floral  and  geometrical  designs  are  also  used. 
Those  who  do  not  venture  on  designing,  may  find  dam¬ 
ask  tea-cloths  and  doileys  with  pretty  woven  borders. 
By  outlining  the  pattern  in  silk,  a  handsome  set  may 
easily  be  furnished. 

A  case  for  a  night  dress  may  be  made  of  gray  or 
creamy  linen.  Divide  the  lower  half  of  the  front  into 
two  panels  by  a  row  of  ornamental  stitches.  In  the  left, 
hand  division  draw  a  figure  in  night  clothes,  candle  in 
hand,  and  yawning.  In  the  second  a  reclining  form, 


AND  HOW  TO  USE  THEM. 


19 


with  pillowed  head  and  closed  eyes,  with  insects,  bee¬ 
tles,  moths,  etc.,  whirling  in  the  air.  On  the  flap,  out¬ 
line  in  Koman  letters,  or  in  simple  round  text,  “To 
sleep,  perchance  to  dream.”  Finish  with  a  bow  of  rib¬ 
bon.  Or  the  case,  which  is  made  in  the  shape  of  a  large 
envelope,  might  be  powdered  with  poppies  and  their 
leaves. 

A  bed-spread  may  be  made  of  the  same  material  (the 
cream  color  being  preferable),  decorated  with  an  outline 
design  of  poppies  powdered  over  the  material,  flowers, 
seed  vessels  and  foliage  all  being  used  and  connected 
together  by  conventional  or  flowing  stem  work.  Indian 
red  is  a  good  color  in  which  to  work  this.  The  Egyptian 
water  lily  or  lotos  is  also  emblematical  of  sleep,  and  may 
be  used  in  the  same  way.  Dull  blues  would  be  appro¬ 
priate  for  this  design.  Pillow  shams  should  be  made  to 
match.  Should  this  seem  too  great  an  undertaking,  the 
decoration  of  the  spread  could  be  limited  to  a  diagonal 
band  of  proper  width,  defined  by  rows  of  chain  or  outline 
stitch,  the  space  within  the  band  being  powdered  as  de¬ 
scribed,  or  the  flowers  and  foliage  could  be  formed  into 
a  continuous  design,  more  or  less  conventional. 

Here  is  an  idea  for  another  counterpane,  say  for  a 
crib.  Divide  the  linen  into  squares  with  some  pretty 
fancy  stitch,  working  in  the  centre  of  each  square  a 
flower,  or  one  of  the  many  appropriate  pictures  to  be 
found  in  the  Kate  Greenaway  books  or  in  Walter  Crane’s 
“Baby  Opera.”  You  need  not  reproduce  every  line; 
only  those  that  are  necessary  to  tell  the'  story  com¬ 
pletely. 

A  screen  is  often  a  useful  piece  of  furniture.  Here  is 
a  description  of  a  simple  one,  suitable  for  a  bedroom  or 
nursery.  The  frame  should  be  a  firm  one,  and  can  be 
made  by  any  carpenter  of  pine  wood.  It  can  be  either 
ebonized  by  staining  it  with  a  solution  of  logwood,  and 
afterwards  applying  /vinegar  in  which  iron  has  been 


20 


NEEDLES  AND  BRUSHES 


lying  for  some  time,  and  rubbed  to  a  dull  surface  after 
it  bas  been  treated  to  a  coat  of  varnish ;  or  it  can  be 
painted  black  and  decorated  with  a  few  dashes  of  gold 
paint  in  a  vague  Japanese  style.  For  the  screen  itself, 
use  unbleached  muslin.  Having  measured  it  to  fit  the 

screen,  put  on  a  dado  of  dark 
blue  cambric,  proportioning 
it  duly  to  the  height.  On 
the  upper  part,  sketch  a  Jap¬ 
anese  group,  such  as  you  can 
find  on  many  of  the  advertis¬ 
ing  cards  and  fans.  Or,  if 
this  seems  beyond  you,  pow¬ 
der  the  blue  muslin  sparingly 
with  outline  plum  blossoms 
(you  will  find  a  suggestion  in 
Fig.  3),  and  run  a  branch  up 
beyond  the  dado  in  the  man¬ 
ner  of  the  illustration  alluded 
to. 

Fig.  4  is  a  screen  in  which 
the  work  is  of  rather  a  novel 
character,  being  a  combina¬ 
tion  of  painting  and  embroid¬ 
ery,  and  is  much  more  quickly 
worked  than  one  would  think. 
Sketch  the  design,  enlarged 
to  suit  your  screen,  on  the 
material,  which  in  the  original  is  olive  satin,  making 
the  outline  delicate.  Have  your  work  stretched  firmly 
in  an  embroidery  frame,  which  may  be  made  on  the 
same  principle  as  an  old-fashioned  quilting  frame. 
Figs.  4 a  and  4&  give  enlarged  details  which  will  enable 
the  worker  to  clearly  understand  the  directions.  Gold, 
silver,  copper,  and  black  paints  are  used,  mixing  them 
when  they  need  diluting  with  gum  water.  Paint  the 


AND  HOW  TO  USE  THEM  21 

stones,  grasses,  leaves,  flowers,  and  the  stalks  of  the 
cactus  in  gold,  shading  lightly  with  black  or  copper 
color.  Make  the  thorns  of  fine  strokes  of  copper  color, 
and  then  worked  with  a  loose  lying  stitch  of  moss  green 
filoselle  or  floss.  Gold  thread  can  also  be  used  with 
effect.  Where  there  are  well-defined  leaves  as  in  Fig.  3, 


Fig.  44. 


they  are  painted  in  silver  and  veined  with  stitches  of 
green.  The  flowers  are  worked  with  two  shades  of  dark 
red  in  a  close  satin  stitch,  the  calices  being  in  white  or 
yellow.  The  bird’s  beak  is  painted  in  gold,  as  also  are 
the  upper  part  of  the  wings,  the  lower  feathers  being 
painted  in  silver  and  bronze,  divided  by  stitches  of  white 


22 


NEEDLES  AND  BRUSHES 


silk.  The  breast  is  covered  with  button-hole  stitches  in 
claret  red  silk,  so  worked  as  to  catch  into  each  other, 
imitating  the  plumage.  The  upper  part  of  the  wing  is 
also  worked  to  show  the  markings  of  the  feathers.  The 
long  tail  feathers  are  worked  in  gold  thread. 

A  cover  for  a  parlor  organ  can  be  made  of  linen,  with 
the  design  either  worked  on  a  band  of  blue  denim,  which 
is  afterwards  feather-stitched  on  to  the  cover,  or  else 
worked  on  the  material  itself.  Bars  of  music  with  lines 


Fig.  4a. 


and  notes  in  gold  silk,  and  the  words  “Hal-.e-lu-jah  ! 
hal-le-lu-jalx !  A-men  !  ”  worked  in  the  same  silk  would 
form  an  appropriate  border;  or  one  composed  of  musical 
instruments,  such  as  lyres,  reeds,  trumpets,  and  cymbals, 
intermingled  with  scrolls,  might  be  used.  Symbolic 
flowers,  such  as  the  palm,  lily,  or  passion  flower,  would 
also  be  appropriate.  Finish  with  'a  deep  hem-stitched 
hem,  with  a  line  of  open  work  above,  op  with  a  knotted 


AMD  HOW  TO  USB  THEM. 


fringe  in  which  blue  and  gold  silk  are  mixed  with  the 
linen  threads.  Line  with  deep  blue  silesia. 

Chain-stitch  is  not  much  used  at  present;  but  for  some 
purposes  it  is  very  convenient.  It  is  made  by  taking  a 


Fig-.  4 ft. 

stitch  from  right  to  left,  and  before  the  needle  is  drawn 
the  thread  is  carried  under  the  point  of  the  needle  from 
left  to  right.  The  next  stitch  is  taken  from  the  point  of 
the  loop  thus  formed  forward,  and  the  thread  again  kept 
under  the  needle,  each  link  thus  forming  a  link  in  the 
chain. 

Twisted  chain  stitch  (Fig.  5)  is  useful  for  outline  work 


on  coarse  materials  such  as  felt,  and  other  heavy  woolen 


24 


NEEDLES  AND  BRUSHES 


goods.  Instead  of  beginning  the  second  stitch  inside 
the  point  of  the  first,  both  threads  of  the  first  are  pushed 
a  little  aside,  and  the  needle  is  inserted  about  half  way 
up  the  first  stitch,  thus  securing  a  rope-like  effect.  It 
should  be  worked  with  double  crewel  or  tapestry  wool. 
It  is  also  very  effective  worked  on  gold-faced  felt,  in 
double  silk,  and  both  chain  stitch  and  twisted  chain  are 
useful  for  edging  appliqued  patterns. 

DARNED  WORK. 

In  combination  with  outline  stitch,  the  darned  work 
so  popular  in  Queen  Anne’s  time  has  been  revived,  and 
is  remarkably  effective.  The  stitch  is,  as  its  name  im¬ 
plies,  the  one  used  in  darning  cloth  or  stockings,  only 
that  it  is  made  purposely  irregular,  being  quite  long 
on  the  right  side  and  very  short  on  the  wrong  side. 
It  is  used  not  only  for  backgrounds  but  also  for  fill¬ 
ing  in  boldly  outlined  designs.  Says  a  writer  in  the 
Art  Interchange: 

“Judiciously  used,  it  is  capable  of  producing  almost 
iridescent  effects,  and  adding  greatly  to  the  richness  of 
the  embroidered  work.  Done  in  heavy  filoselles — and 
linen  takes  these  admirably — in  two  shades  of  one  color, 
in  two  colors,  or  else  in  a  shade  lighter  or  darker  than 
the  fabric,  it  will  produce  several  color  effects.  The 
colors  may  be  introduced  irregularly  or  alternately,  by 
stitches  of  varying  length.  A  combination  of  dull  green 
or  dull  gold  filoselles,  will  produce  three,  if  not  four 
color  effects,  according  to  the  ground,  and  the  light  in 
which  the  work  is  shown;  in  one  light  there  will  be  a 
shading  of  dull  green,  in  another  a  touch  of  old  gold,  in 
a  third  a  glimmer  of  bronze  green.  When  deeper,  fuller 
coloring  is  employed — for  instance,  in  rich  antique  blues, 
and  old  bronze — the  changing  sheen  of  peacock’s  feathers 
•  will  be  seen.  In  two  shades  of  gray  silk,  silvery  and 
steel  effects  are  attainable;  in  dull  pinks  and  ambers, 


AND  HOW  TO  USE  THEM. 


25 


purple  and  citrine,  green  and  russet,  pale  violet  and 
lemon,  and  other  combinations,  the  most  lovely  transfor¬ 
mations  are  wrought  by  this  simple  grounding.  Where 
darned  work  is  used  for  filling  in  outlines,  the  design 
should  be  so  composed  that  the  unworked  spaces  may 
present  ornamental  shapes,  for  they  will  attract  the  eye, 
and  hold  as  important  a  part  in  the  finished  work  as 
flower  and  leaf  spaces  on  a  darned  background.  In 
darning  within  the  outlines,  it  is  not  necessary  to  darn 
the  whole  composition,  though  it  may  thus  be  treated 
and  stand  boldly  out  on  a  plain  background  with  artistic 
effect;  certain  portions  all  through  the  design,  say  the 
blossoms  of  an  apple  or  cherry  design,  may  be  simply 
outlined  and  veined  in  silk  or  crewel,  while  the  fruit  and 
leaves  are  darned  in  one  or  two  colors,  or  shades  of  color. 
Care  must  be  taken  to  so  distribute  the  darned  or  open 
spaces  as  to  avoid  striping  or  spottiness.  As  it  not  pos¬ 
sible  to  follow  nature  in  round  effects  by  darned  work, 
which  is  conventional,  it  is  best  to  use  conventional 
coloring,  or  else,  low  tones  of  the  natural  color  of  the 
subject.  Light  grounds  look  best  with  a  well  diffused 
design,  and  dark  grounds  well  with  the  design  wrought 
in  silk  of  a  lighter  shade  than  their  own  color.” 

The  Art  Amateur  thus  describes  a  remarkable  table- 
cover  worked  by  the  Decorative  Needle- Work  Society 
in  London : — 

£  “In  looking  at  the  picture,  many  persons  imagine 
that  the  cloth  is  embroidered  with  silver;  but  this  is  not 
the  case,  the  beautiful,  bright  effect  being  produced  by 
very  simple  means.  The  material  is  cream  satin,  and 
the  design  is  outlined  in  blue  and  green  silks,  while  the 
ground  of  the  pattern  is  filled  in  with  darning,  in  shades 
of  pale  gold  filoselle,  thus  leaving  the  satin  to  catch  the 
lights.  The  border  is  of  green  plush,  on  which  is 
embroidered  a  handsome  antique  pattern,  harmonizing 
with  and  relieving  the  centre.” 


26 


NEEDLES  AND  BRUSHES 


Pongee  ia  a  beautiful  material  for  darning.  It  is  much 
used  for  tidies  or  chair  backs,  as  they  are  now  called. 


Fig.  6. 


An  exceedingly  pretty  one  at  the  Decorative  Art  Society 
had  a  border  formed  by  a  floral  design  outlined  in  pale 


AND  EON  TO  &8E  THEM. 


2? 


green,  with  yellow  berries,  the  background  being  darned 
in  a  darker  green.  In  another,  the  outlining  was  done  in 
old  gold,  and  the  darning  in  shades  running  from  a  dull 
red  to  pink. 

A  remarkably  pretty  and  simple  border  can  be  worked 
on  fine  burlaps  in  red.  Sprays  of  the  sassafras  form  the 
design,  which  is  outlined  in  a  dark  red,  with  a  back¬ 
ground  darned  in  a  brighter  shade  of  the  same  color. 
This  scarf  was  finished  wilh  a  knotted  fringe,  while 
above  the  border  was  an  inch  wide  strip  of  drawn  work. 
The  same  idea  would  be  very  pretty  for  a  heading  for 
curtains.  The  modern  darned  work  is  principally  used 
as  a  background  in  straight,  horizontal  stitches,  but 
these  may  be  varied  according  to  the  inclination  or  taste 
of  the  worker.  It  is  sometimes  used  to  represent  a 
diapered  ground;  thus,  it  may  be  worked  in  an  open 
diamond  pattern.  Again,  it  may  be  worked  in  rows  of 
circles  of  either  varying  or  uniform  size,  or  in  a  succes¬ 
sion  of  wave-like  lines.  Instead  of  the  darning  stitches, 
some  fancy  stitches  may  be  used  for  filling  in  a  back¬ 
ground.  Water,  clouds,  etc.,  are  generally  rendered  by 
darning  stitches. 

Fig.  6  is  a  curtain  of  Queen  Anne’s  time  done  in  out¬ 
line  with  a  darned  background.  A  very  handsome 
quilt  may  be  worked  from  the  same  design  on  huckaback 
towelling.  The  easiest  way  to  manage  it  is  to  work  a 
square  for  the  centre  and  join  side  pieces  all  around. 
The  darning  stitches  have  a  very  fine  effect  run  under 
the  threads  of  the  towelling. 

Fig.  7  gives  another  suggestion  for  work  of  this  kind, 
showing  a  different  way  of  filling  the  background.  As 
Shown  in  the  illustration,  a  pleasing  variety  may  be  in¬ 
troduced  by  filling  in  the  background  in  one  part  of  the 
work,  and  the  design  in  another.  Very  gorgeous  effects 
are  produced  by  using  gold  thread  in  darning  designs 
•n  hnekaback. 


NMEDLUS  AXD  JiRVtiKB*. 


2S 


Fitf.  1. 


AND  ROW  TO  USE  THEM. 


20 


FILLED  IN  EMBROIDERY. 


Under  this  head  a  number  of  stitches  and  various 
modes  of  treatment  are  included,  but  the  stitch  chiefly 


used  is  the  one  already  described  under  the  head  of  out¬ 
line  work,  being  merely  a  modification  of  stem  stitch, 
the  whole  design,  however,  being  covered  with  needle¬ 
work  appropriately  colored  and  shaded.  Much  of  this 
work  is  done  in  conventional  designs,  the  coloring  of 
which  is  also  conventional,  but  for  the  beginner  the 
semi-realistic  or  natural  designs  are  much  easier  and  as 
a  rule  more  satisfactory.  There  are  a  variety  of  stitches 
that  may  be  employed  in  this  work,  which  I  will  briefly 
describe.  Of  these,  one  of  the  most  important  is  feather 
stitch,  which  is  the  one  generally  employed  in  shading 
flowers,  etc.  It  consists  of  an  alternate  long  and  short 
stitch.  The  stitches  must  not,  however,  terminate  in 
regular  lines,  as  this  would  give  a  stiff  appearance  to 
the  work.  In  working  the  petals  of  flowers,  you  must 
always  work  from  the  outer  part  of  the  petal  toward  the 
centre  (Fig.  8),  and  so  directing  the  stitches  as  to 


Fig.  8. 


follow  the  lines  of  the  petals.  It  is  a  good  plan  to  keep 
two  or  three  needles  threaded  with  the  different  shades, 
and  work  them  in  as  required.  It  is  often  a  good  plan 
to  work  the  whole  of  a  leaf  or  petal  in  the  shade  that  is 
predominant,  making  the  stitches  a  little  spreading,  so 


30 


NEEDLES  AND  DRV SEES 


that  the  other  shades  can  be  worked  in  afterward. 
When  finished,  the  shades  should  blend  into  each  other, 
showing  no  harsh  outlines.  It  is  much  better  to  begin 
working  in  the  middle  of  a  leaf  or  petal,  and  throw  your 
thread  to  opposite  sides  of  your  needle  in  the  two 
halves.  In  working  leaves,  study  their  formation  and 
direct  your  work  accordingly.  In  a  chrysanthemum  or 
oak  leaf,  for  instance,  it  is  easier  to  treat  each  division 
as  a  separate  leaf,  beginning  at  the  top  of  each  and 
working  down  toward  the  main  stem,  so  directing  your 
stitches  meanwhile  as  to  join  the  parts  harmoniously. 
It  is  an  excellent  plan  to  keep  a  sampler  on  which  to 
try  stitches  and  effects  of  color.  In  working  flowers 
with  petals  closely  set  together,  as  the  chrysanthemum, 
corn-flower,  etc.,  it  is  sometimes  necessary  to  divide  the 
petals  by  a  line  of  a  darker  shade.  This  should  be  put 
in  the  last  thing,  as  otherwise  it  is  liable  to  be  lost  in 
the  work.  This  holds  true  of  veiniugs  also.  It  is  well 
to  remember  that  needle-work  is  decorative  mainly,  and 
should  not  bo  elaborated  like  a  painting.  Two  or  three 
shades,  are  as  a  rule,  sufficient  in  leaf  or  flower,  and  where 
either  is  small  a  single  shade  may  answer.  Narrow 
leaves  look  best  worked  in  satin  stitch.  The  centres  of 
many  flowers  are  worked  in  what  is  called  the  French 
knot.  It  is  also  used  for  working  the  anthers  to  some 
flowers.  To  make  it,  having  brought  your  needle 
through  the  material  at  the  spot  where  your  knot  is  to 
be  made,  wind  the  thread  three  times  round  the  needle 
close  to  the  spot  where  the  thread  came  through.  Then 
turn  the  point  of  the  needle  down  through  the  place 
where  it  first  came  up,  holding  the  thread  firmly  in  the 
lpft  hand  until  it  is  quite  drawn  through  (Fig.  9).  The 
twisted  threads  must  be  held  very  close  to  the  work,  or 
the  knot  will  have  a  loose,  untidy  appearance.  When 
the  work  is  coarse,  the  thread  can  be  doubled  or  the 
number  of  knots  increased.  In  filled  in  embroidery,  as 


AMD  BOW  TO  USE  TEEM. 


51 


with  outline  work,  the  materials  are  very  much  the 
worker’s  own  choice.  Crewels  and  silks  are  chiefly 
need  for  working,  and  may  both  be  used  to  great  advan- 


Fig.9. 


tage  in  the  same  piece  of  work,  the  design  being  for  the 
most  part  worked  in  crewel,  the  high  lights  imt  in  with 
silk.  Fine  chenille  also  can  sometimes  be  used  with 
great  effect,  as,  for  instance,  in  working  golden-rod, 
which  can  be  worked  very  effectively  and  expeditiously 
in  two  shades  of  yellow  chenille.  A  new  thread  should 
always  be  begun  on  the  right  side  of  the  work  and 
finished  there  also. 


Big.  10. 


A  very  effective  stitch  for  a  certain  class  of  de¬ 
signs  is  shown  in  Figs.  10  and  11.  It  has  a  great 
number  of  names,  such  as  leaf  stitch,  Kensington 
stitch,  Janina  stitch,  etc.,  etc.,  and  is  described  in 


32 


NEEDLES  AND  BRUSHES 


AND  IIOW  TO  USE  THEM. 


33 


Caulfield  and  Saward’s  “Dictionary  of  Needlework,” 
as  Mossoul  embroidery.  As  will  be  seen  by  studying  the 
illustration  it  is  really  a  close  herring-bone  stitcli  worked 
across  the  leaves  and  petals.  Commence  working  at  the 
widest  end  of  the  leaf  or  petal,  and  work  across  from 


Fig.  13. 


side  to  side  without  a  break.  The  stitch,  if  worked 
properly,  produces  a  plait  down  the  centre  which  is  the 
chief  feature  of  the  work.  When  worked,  the  design 
should  be  outlined  with  rope  stitch,  which  is  a  short  stem 
stitch.  The  outline  should  be  of  an  uniform  color,  slightly 
contrasting  with  the  colors  used  for  the  design.  Thus, 


34 


NEEDLES  AND  BRUSHES 


if  tlie  design  be  worked  in  yellow-greens  and  brown- 
reds,  the  outline  might  be  dark  peacock  blue.  Orange 
shades  in  the  design  might  be  outlined  with  greens  or 
russet  browns.  An  appropriate  border  would  be  one  of 
drawn  work  using  the  same  silks  as  were  employed  for 
the  embroidery.  This  stitch  or  a  modification  of  it  was 
used  largely  by  the  New  England  dames  of  old,  and  is 
sometimes  called  from  that  circumstance,  Grandmother’ s 
stitch. 

A  beautiful  sofa  cushion  worked  in  this  stitch,  is 
shown  in  Fig.  13.  The  pattern  for  the  border  is  given 
in  full  size  in  Fig.  12. 

Another  stitch  for  working  narrow  leaves  is  shown  in 
Fig.  14.  It  lias,  like  Jauina  stitch,  a  formal  look,  and 
should  be  chiefly  used  for  conventional  designs. 


Fig.  14. 


In  working  the  different  stitches  so  far  described  it 
will  sometimes  be  found  that  the  work  is  puckered  or 
drawn.  This  is  particularly  liable  to  be  the  case  with 
beginners.  In  some  cases  it  will  be  sufficient  to  cover 
the  right  side  with  a  clean  cloth,  and  then  stretch  it 
tightly  right  side  down  by  means  of  pins  on  a  table,  and 
then  thoroughly  dampen  it  on  the  wrong  side.  livery 
badly  wrinkled,  it  may  be  advisable  to  pass  a  hot  flat¬ 
iron  rapidly  over  the  wrong  side.  Of  course,  care  must 


AND  HOW  TO  USD  THEM. 


85 


be  taken  to  only  dampen,  not  wet,  the  material.  I  have 
generally  found  it  most  satisfactory  to  wring  a  thin  cloth 
very  tightly  out  of  clear  water  and  pin  it  over  the  wrong 
side  of  the  work.  If  an  iron  is  used  great  care  must 
be  taken  not  to  have  it  too  hot,  so  as  to  scorch  the 
work. 

Couching  or  laid  embroidery  is  chiefly  used  for  eccle¬ 
siastical  or  conventional  designs,  and  must  be  worked  in 
a  frame.  The  leaf  or  petal  is  first  covered  with  lines 
resembling  satin  stitch,  but  lying  almost  entirely  on  the 
right  side.  Over  this,  lines  are  laid  at  regular  intervals 
and  caught  down  by  a  few  small  stitches  from  the  back. 

Couching  can  be  varied  in  many  ways,  either  by  lay¬ 
ing  the  couching  lines  at  different  angles,  or  omitting 
them  altogether;  the  fastening  threads  can  be  made  to 
form  numerous  figures,  such  as  diamonds,  squares,  zig¬ 
zags,  etc.  This  is  called  diaper  couching.  Gold  thread  is 
used  with  great  effect  in  this  style  of  work.  When  the 
couching  lines  are  made  of  a  heavy  material,  such  as 
cord,  ribbon,  or  coarse  wools,  a  stiletto  must  be  used  to 
make  the  holes  through  which  the  lines  are  taken  to  the 
back  of  the  work.  t 

Couching  must  always  be  done  in  a  frame.  Con¬ 
venient  patented  frames  can  be  procured  in  many  cities, 
but  very  satisfactory  ones  are  made  of  four  pieces  of 
wood  fastened  together  at  the  corners  by  pegs.  The 
work  is  fastened  to  the  end  pieces  by  sewing  it  to  strong- 
linen  securely  attached  to  the  wood.  These  end  pieces 
are  then  fastened  in  place  by  means  of  the  pegs,  and 
the  sides  of  the  work  tightly  and  evenly  fastened  to  the 
side  pieces  of  the  frame.  The  work  must  be  very  tightly 
stretched  or  it  will  soon  become  difficult  to  work  it 
nicely.  Should  the  material  be  too  light  to  admit  of 
stretching  it  firmly,  stretch  a  inece  of  strong  linen,  and 
pin  the  work  firmly  on  it.  Both  hands  are  employed  when 
working  in  a  frame,  one  above  and  the  other  below  the 


3G 


NEEDLES  AND  BRUSHES 


work,  and  practise  will  enable  you  to  work  with  either. 
Care  should  be  taken  to  keep  the  frame  in  such  a  posi¬ 
tion  that  the  worker  will  not  be  obliged  to  stoop. 

Very  much  of  the  beauty  of  all  varieties  of  embroidery 
depends  on  the  harmonious  arrangement  of  the  colors, 
and  this  cannot  be  taught  in  any  manual.  To  some,  the 
color  sense  seems  utterly,  or  in  large  part,  wanting. 
Such  can  only  copy.  But  with  many  a  few  hints  will 
start  them  on  the  right  road.  In  embroidery,  the  color¬ 
ing  must  always  be  largely  modified  by  the  surroundings 
of  the  design,  the  background,  etc.  While  the  design 
should  always  be  so  far  conventionalized  as  to  be  per¬ 
fectly  flat,  the  colors  must  often  be  still  further  conven¬ 
tionalized.  The  following  remarks  from  the  Art  Inter¬ 
change  Manual  on  “Filled  in  Embroidery,”  will  prove 
suggestive: — 

“  In  coloring  in  decorative  embroidery,  unity  and 
harmony  are  more  desirable  than  contrast.  For  a  be¬ 
ginner  especially,  unity  should  be  the  aim;  contrasts  are 
very  fine,  but  they  can  only  be  correctly  carried  out  by 
those  who  are  skilful  with  the  needle,  and  who  have  a 
natural  talent  for,  or  have  had  experience  in,  the  use  of 
colors.  It  is  better  to  begin  with  two  shades,  and  to  use 
those  correctly,  than  to  attempt  the  mixture  of  a  vari¬ 
ety  of  shades  and  hues.” 

“  There  can  be  as  well  defined  unity  in  coloring  as  in 
designing  an  ornamental  pattern.  One  scheme  of  color 
can  run  through  an  entire  design.  As  a  flower  or  leaf  in 
the  drawing  is  taken  as  a  centre  around  which  others 
cluster,  so  a  color  can  be  selected  as  the  central  point 
to  which  all  the  shades  must  relate.  To  follow  out  this 
idea,  we  will  suppose  curtains  are  to  be  made  of  a  pea¬ 
cock  blue  fabric.  Blue  in  this  case  would  be  the  ruling 
color,  and  all  the  greens  used  in  working  on  it  must  be 
bluish  in  hue;  if  a  flower  be  added  to  the  pattern,  it 
must  represent  the  primary  in  its  purity,  and  no  colors 


AND  BOW  TO  USE  THEM. 


37 


formed  of  red  or  yellow  must  be  introduced.  If  maroon 
is  the  ground  tone,  the  greeus  must  have  a  russet  hue, 
and  the  flower  must  be  red.  This  method  of  coloring  is 
capable  of  varied  and  exquisite  treatment.” 

When  a  closer  imitation  of  nature  is  attempted,  the 
natural  colors  must  be  used  in  working  them,  and  great 
care  must  be  exercised  in  choosing  a  background,  as 
carelessness  in  this  respect  may  ruin  a  piece  of  work 
otherwise  well  designed  and  wrought  out.  A  friend, 
wishing  to  ornament  a  dark  blue  flannel  dress  inexpen¬ 
sively,  bethought  her  of  working  a  simple  design  in 
crewels  on  revers  and  cuffs.  She  worked  a  small  flower 
in  orange  shades,  and  the  result  was— well,  the  reverse 
of  refined;  substituting  shades  of  dark  red,  her  embroid¬ 
ery  became  an  ornament,  as  it  was  intended  to  be, 
instead  of  attracting  the  eye  by  its  “loudness.”  The 
authority  already  quoted  says  on  the  subject  of  a  back¬ 
ground  : — 

“  There  are  a  few  other  facts  in  the  science  of  color 
which  can  be  an  assistance  in  tli e  selection  of  a  back¬ 
ground.  We  are  told  that  no  ‘one  color  can  be  viewed 
by  the  eye  without  another  being  created.’  This  is  be¬ 
cause  the  eye  requires  that  all  three  primaries  should  be 
present;  and,  when  this  is  not  the  case,  it  will  of  itself 
supply  the  deficiency.  To  exemplify  this,  let  us  supjrose 
we  worked  a  blue  pattern  on  a  neutral  gray  ground. 
The  eye,  in  looking  at  it,  would  create  the  missing  red 
and  yellow;  and  as  these  in  combination  form  orange, 
the  grayish  ground  would  have  an  orange  hue.  This 
is  an  important  fact,  and  inattention  to  it  will  result  in 
very  serious  defects.  We  often  wonder  why  a  piece  of 
work  which  has  for  its  foundation  color  black,  looks  rusty 
or  dingy,  when  we  may  have  taken  great  pains  to  select 
a  rich,  perfect  black.  The  reason  is,  that  if  the  design 
is  worked  in  blue,  orange  is  reflected  on  the  black;  if  in 
red,  a  greenish  hue  is  given;  and  in  yellow,  a  purplish 


38 


NEEDLES  AND  BRUSHES 


hue  is  the  result.  This  difficulty  is  obviated  by  select¬ 
ing  for  the  ground  work  a  dark  shade  of  the  same  color 
as  the  pattern;  and  when  this  is  almost  invisible,  its 
color  becomes  neutralized  by  the  tints  thrown  upon  it, 
and  it  gives  the  effect  of  black.  When  the  pattern  is 
variegated  in  color,  this  difficulty  will  not  occur.” 

Great  care  must  be  used  in  working  designs  containing 
different  colored  flowers,  to  choose  such  as  will  harmon¬ 
ize  with  each  other.  The  greens  of  the  leaves  also  must 
be  selected  with  regard  to  both  the  background  and  the 
colors  used  for  the  flowers.  Thus,  yellow  and  blue 
flowers  should  have  the  leaves  worked  in  russets  and 
brown-greens. 

In  shading,  as  has  been  intimated,  no  attempt  should 
be  made  to  give  a  rounded  or  realistic  representation  of 
the  flower  used  in  the  design,  but  merely  an  indication 
of  the  varied  shades  of  color,  as  in  the  rose  for  instance, 
which  often  varies  from  a  deep  pink  to  so  delicate  a  tint 
that  it  is  almost  white.  Great  care  must  be  taken  to 
have  whatever  shading  is  employed,  worked  so  that  in 
no  place  can  the  point  where  one  shade  begins  and  an¬ 
other  ends  be  perceived.  In  this  matter  everything 
depends  on  the  skill  and  taste  of  the  worker. 

It  is  well  in  beginning  such  work  to  undertake  only 
small  pieces,  such  as  chair  backs,  table  scarfs,  etc.,  so. 
that  discouragement  may  be  avoided,  and  failures  may 
not  be  so  disastrous.  But  to  a  skilful  and  persevering 
worker  it  is  well  worth  while  to  put  the  time  and  pains 
into  one  large  piece  of  work,  winch  is  often  frittered 
away  on  a  vast  number  of  smaller  undertakings.  The 
work  is  so  durable,  in  fact  improves  so  with  age,  the 
colors  becoming  mellow  with  time,  that  an  enthusiastic 
work-woman  may  well  feel  she  is  working  for  posterity, 
as  she  bends  over  her  portiere,  screen  or  curtain. 

For  convenience  sake  borders  are  often  worked  in 
strips,  and  afterwards  applied  to  the  foundation.  In 


AND  HOW  TO  USE  THEM. 


39 


this  case  a  number  of  fancy  stitches  are  often  employed, 
not  only  to  conceal  the  line  of  junction,  but  also  to 
emphasize  the  design  or  to  bring  into  harmony  the  two 
colors  of  the  strip  and  the  real  foundation.  Several  of 
these  stitches  are  described  later  on,  and  many  more  can 
be  found  by  carefully  noticing  borders  on  embroideries, 
china,  or  any  other  decorative  work.  Herringbone  and 
coral  stitch  are  both  used  for  this  purpose.  Mrs.  Glaister 
says  concerning  these  stitches: 

“  A  great  deal  of  the  finished  effect  of  all  decorative 
needlework  depends  on  the  apparently  unimportant 
lines  and  borders  with  which  the  patterns  are  bounded 
and  kept  together— often  they  have  to  be  put  in  after 
the  work  is  otherwise  finished;  a  thick  line  and  a  thin 
one,  a  little  zigzag  or  herringbone  between  two  lines,  a 
row  of  dots  or  sloping  stitches  beside  a  line,  will  often 
make  a  marvellous  difference  to  the  finish  and  complete¬ 
ness  of  a  pattern  which  without  them  gave  a  vague  dis¬ 
satisfaction.  These  lines  sometimes  serve  to  give  a 
bakmce  of  color  that  was  wanting  without  them. 
Speaking  very  generally,  middle  tints  of  the  ornament 
will  serve  for  the  color,  but  if,  as  happens  sometimes, 
the  color  of  flowers  is  felt  to  be  a  little  strong  in  the 
general  effect,  a  few  stitches  of  their  color  in  the  bor¬ 
dering  lines  between  or  beside,  say  the  green  of  the 
leaves,  may  greatly  improve  matters.  Lay  some  threads 
of  the  worsted  or  silk  you  maybe  using  on  the  cloth 
beside  the  pattern,  and  you  will  readily  judge  the 
effect.’' 

As  I  have  said  at  the  beginning  of  this  chapter,  very 
many  more  stitches  might  be  enumerated,  but  they 
would  add  nothing  to  the  practical  value  of  these 
directions  and  might  serve  to  embarass.  Every  worker 
in  decorative  needle-work  is  at  liberty  to  adapt  and 
modify  her  stitches  to  suit  herself,  studying  only  the 
result  she  is  aiming  to  produce. 


40 


NEEDLES  AND  BRUSHES 


As  a  l'ule,  borders  are  tbe  most  desirable  decoration 
for  table  covers,  as  tbe  folds  into  which  they  fall  are 
apt  to  break  or  conceal  entirely  a  corner  piece,  while  a 
group  of  flowers  is  apt  to  be  disagreeably  obtrusive  if 
worked  in  tbe  middle  of  each  side.  Generally  a  square 
table  cover  is  preferable,  but  I  have  seen  very  pretty 
covers  fitted  to  round  tables.  One  of  these  was  of  sage 
green  felt,  on  wbicb  were  embroidered  at  equal  distances, 


on  tbe  round  piece  fitting  tbe  top  of  tbe  table,  sprays  of 
simple  wild-flowers  in  small  vases.  Tbe  vases  were  cut 
from  black  velvet  and  applied  to  tbe  cloth,  the  outline 
and  ornamental  lines  being  worked  in  gold  colored  silk. 
Almost  any  book  on  antiquities  will  give  a  good  model 
for  such  vases.  Tbe  border  of  tbe  cover  was  worked  in 
a  running  floral  pattern  on  a  straight  piece  of  cloth,  and 
sewn  on  to  the  top.  It  is  well  to  line  this  straight  piece 


AND  SOW  TO  USE  TEEM. 


41 


with  a  lightly  quilted  piece  of  thin  muslin,  having  a 
light  piece  of  wire  attached  to  the  lower  edge.  Finish 
with  a  fringe  containing  the  colors  used  in  the  work, 
Fig.  14 a  illustrates  a  waste-paper  basket  trimmed  with 
a  lambrequin  or  drapery  of  felt,  satin  or  plush,  worked 
with  a  floral  design.  The  lambrequin  is  finished  with 
a  border  crocheted  in  wool,  from  one  of  the  patterns 
given  in  the  chapter  on  crochet,  and  with  tassels. 


Fig.  14  b. 

Another  style  of  basket,  which  will  be  found  useful 
for  holding  newspapers  and  magazines,  is  shown  in  Fig. 
14 b.  The  sides  are  covered  with  a  puffing  of  silk  or 
satin,  and  decorated  with  a  panel  of  either  of  these 
materials,  on  which  a  floral  design  is  worked  or  painted. 
An  expeditious  way  is  to  paint  the  design  in  flat  tints, 
(that  is  without  shading)  in  water  colors,  and  to  edge 
the  outlines  with  silk  in  cording  stitch. 


42 


NEEDLES  AND  BRUSHES 


Reference  has  been  made  to  applique  work.  As  its 
name  implies,  the  decoration  is  produced  by  cutting  the 
design  or  its  main  features  out  in  one  material,  and  then 
fastening  it  on  to  a  ground  work.  The  edges  are  then 
concealed  by  chain,  button-hole,  couching,  or  some  other 
fancy  stitch.  Sometimes  it  is  advisable  to  back  the 
applique  design  before  fastening  on  the  ground- work,  in. 
order  to  insure  its  being  perfectly  flat  and  un wrinkled. 
In  this  case  the' material  used  for  the  ground  should  be 
tightly  and  evenly  strained,  and  the  design  having  been 
traced  on  the  backing  material  (which  should  be  of  un¬ 
bleached  linen  evenly  stretched),  the  cut-out  pieces  to 
be  used  in  the  work  are  pasted  on  this  linen  ground,  care 
being  taken  that  the  stuff  goes  in  the  same  direction  in 
both  the  pieces  for  the  design  and  in  the  backing.  The 
following  paste  is  used  for  applique  work,  and  also  for 
pasting  the  backs  of  some  pieces  of  embroidery  designed 
for  screens,  etc. 

Embroidery  Paste. 

“Three  and  a  half  spoonfuls  of  flour,  and  as  much 
powdered  resin  as  will  lie  on  a  half  penny.  Mix 
thoroughly  with  half  a  pint  of  water.  Put  in  one  tea¬ 
spoon  essence  of  cloves,  stirring  till  it  boils.  Boil  for 
five  minutes.” — Lady  Marian  Alford’s  Manual  of  Em¬ 
broidery. 

A  new  way  of  making  up  a  sofa  pillow  is  shown  in  Pig. 
14c,  the  covering  of  which  is  of  plush,  lined  with  satin, 
cut  about  fourteen  inches  longer  than  the  pillow,  and 
confined  at  either  end  by  a  cord  and  tassel.  The  decor¬ 
ation  consists  of  sprays,  worked  on  linen  in  filled-in  em¬ 
broidery,  and  applied  to  the  plush.  These  sprays  cau  be 
bought  ready  worked. 

When  applique  designs  are  cut  from  plain  colored 
material,  such  as  felt  or  satin,  they  may  be  much 


AND  HOW  TO  USE  THEM. 


43 


improved  by  working  them  in  crewels  or  silks,  veining 
the  leaves,  shading  a  little,  etc. 


Fig.  14c. 


Fig.  14«!  illustrates  a  brush  or  broom  holder  or  small 
catch-all,  ornamented  with  a  spray  of  applique  work, 
and  finished  off  with  gimp,  wool,  balls  and  tassels.  The 
way  to  make  these  balls  is  given  on  under  Crochet. 

A  quickly  executed  and  effective  kind  of  embroidery 
is  called  Broderie  Perse,  and  is  very  pretty  for  table- 
scarfs,  bedroom  curtains,  etc.  For  a  table  scarf  use  a 
good  quality  of  cream-colored  linen.  You  will  need 
besides  some  cretonne  in  bright,  artistic,  flower  designs, 
together  with  some  filoselles  and  crewels.  From  the 
cretonne  cut  a  sufficient  number  of  flowers,  and  arrange 
them  in  a  graceful  border  pattern  on  the  linen,  connect¬ 
ing  them  with  stem  lines  in  pencil.  Having  arranged 
your  pattern,  mark  lightly  round  each  flower  so  as  to 
insure  your  rearranging  them  correctly.  Then  stretch 
your  linen  by  means  of  stout  pins  or  thumb-tacks 
smoothly  on  a  drawing-board  (the  kneading-board  will 
answer),  and  with  nice  smooth  starch,  paste  each  flower 


44 


NEEDLES  AND  BRUSHES 


in  its  place.  When  thoroughly  dry  take  the  linen  off 
the  board  and  buttonhole  the  cretonne  lightly  round  the 


edges,  having  the  stitches  seen  as  little  as  possible. 
Veinings  of  leaves,  high  lights  and  the  deepest  shadows 
can  be  worked  in  with  filoselles,  and  the  steins  are 
worked  with  crewels.  Nice  cheese-cloth  can  be  decor¬ 
ated  in  this  way  for  curtains.  As  to  outline  work,  the 
present  fancy  is  to  work  it  in  conventional  colors,  using 
three  shades  of  a  color.  Thus,  in  a  floral  design  the 
leaves  are  worked  in  three  shades  of  green,  and  the 
flowers  in  shades  of  blue,  pink  or  any  other  color. 
Another  way  of  varying  this  work  is  by  the  use  of 
“  double  outline.”  Instead  of  working  the  outline  as 
usual,  wliat  is  generally  called  Kensington  stitch  is 
used  ;  that  is,  the  edge  of  the  flower  is  done  in  alternate 
long  and  short  stitches,  just  as. if  the  whole  flower  was 
going  to  be  filled  in.  The  effect  is  very  pleasing. 


AND  HOW  TO  USE  THEM. 


45 


Old  fashioned  or  partially  worn  out  broche  sliawls  can 
be  used  very  advantageously  for  this  applique  work,  by 
cutting  out  the  principal  figures  of  the  design,  and 
applying  them  to  an  appropriate  ground-work. 

Very  pretty  mats  can  be  made  of  applique  work.  TJse 
burlaps  or  brown  Turkish  towelling  for  the  mat,  and 


1 


Fig.  15. 


on  that  apply  leaves  cut  from  green,  brown,  and  red 
flannel,  or  merino.  Germantown  wool  or  zephyr  may  be 
used  to  work  them.  Either  powder  the  mat  with  the 
leaves  or  arrange  them  in  a  set  pattern.  Button  hole  them 
down,  and  work  veins,  stalks,  etc.,  with  long  stitches. 
Finish  at  the  ends  with  red  flannel  ornamented  with 
Point  Busse  stitches,  and  line  the  whole  with  apiece 
of  hemp  or  old  Brussels  carpeting.  I  have  seen  sucli  a 


46 


NEEDLES  AND  BRUSHES 


mat,  in  which  the  colors  were  well  chosen,  used  to  cover 
up  an  unsightly  window.  On  each  side  was  hung  a 
brilliant  Japanese  panel,  and  the  whole  was  crowned 
with  Japanese  fans,  making  a  pleasure  of  what  had  been 
an  eyesore. 

Figs.  15  and  16  are  designed  for  screen  panels  to  be 
worked  in  crewels  or  silk;  or  they  may  be  painted. 


Fig.  16. 


Combined,  these  designs  would  be  very  appropriate  for 
a  wall  protector,  to  be  worked  in  outline. 

Embroidery  in  crewels  or  silk  should  be  washed  in 
bran  water,  and  well  rinsed. 

Many  recommend  washing  siks  before  working.  To 
do  this  they  should  be  cut  into  lengths  and  boiled  in 
soft  water  for  five  minutes,  then  skimmed  out  on  to  a 


AND  now  TO  USE  THEM. 


47 


soft  towel  to  dry;  sufficient  crewels  or. silks  should  be 
purchased  to  last  through  the  work  as  it  is  often 
extremely  difficult  to  match  the  shades  exactly. 

A  very  pretty  “  all  over  ”  design  for  a  chair-back  or 
tidy  is  shown  in  Fig.  17.  It  can  be  worked  in  outline  on 
a  darned  background  or  in  filled  in  embroidery. 


Fisf.  17. 


But  few  patterns  arc  given  in  this  chapter  for  the 
reason  that  the  space  is  too  limited  to  give  working 
designs,  and  new  patterns  ready  for  working  are  so 
easily  procured.  Originality  is  a  great  beauty  in  such 
designs,  and  when  they  are  met  with  in  a  manual,  the 
eye  soon  becomes  weary  of  them. 

Perforated  patterns  with  the  materials  for  stamping 
can  now  be  bought  for  a  mere  trifle,  and  the  work  done 
from  them  will  prove  more  satisfactory  than  when  your 
design  stares  you  constantly  in  the  face  from  the  pages 
of  a  book. 

HOLBEIN  STITCH,  POINT  RUSSE,  TICKING-  WORK,  ETC. 

Holbein  stitch,  so  called  because  this  style  of  or¬ 
nament  is  found  in  Holbein’s  painting,  is  in  reality  only 


48 


NEEDLES  AND  BLUSHES 


Kg.  18. 


AND  HOW  TO  USE  THEM. 


49 


a  modification  of  true  Point  Russe,  tlie  latter  name 
having,  however,  been  applied  to  a  quickly  executed  and 
sketchy  kind  of  work.  In  what  is  generally  called  Point 
Russe,  the  patterns  are  all  designed  to  suit  the  stitch, 
that  is,  they  have  sharp  and  frequent  angles.  To  work 
it,  bring  the  needle  up  from  the  back  of  the  work  at  one 
end  of  a  line,  and  put  it  through  to  the  back  at  the  other 
end.  The  whole  design  is  thus  worked  in  straight  lines. 
If  a  line  is  too  long  to  work  neatly  with  a  single  stitch, 


Fig.  19. 


divide  it  into  two  or  three  equal  lengths  and  work  each 
division  as  a  single  line. 

The  peculiarity  of  all  the  real  Point  Russe  is  that  it 
presents  the  same  appearance  on  both  sides  of  the  work, 
which  makes  it  a  very  useful  stitch  for  decorating 
towels,  and  other  objects  which  are  seen  from  both 
sides.  Designs  for  Holbein  stitch  must  always  be  ar¬ 
ranged  as  for  cross  stitch,  and  if  worked  on  material  in 
which  counting  the  stitches  is  difficult  or  impossible, 
must  be  worked  over  canvas  basted  on  the  material. 
The  principle  on  which  this  stitch  is  worked,  is  that  of 


50 


NEEDLES  AND  BRUSHES 


working'  over  two  threads  mid  under  the  two  following1, 
reversing-  the  arrangement  as  you  come  hack.  Some¬ 
times  t lie  design  is  worked  so  as  to  present  the  effect  of 
ordinary  cross  stitch,  sometimes  the  stitch  follows  the 
outlines  of  a  small  square.  The  designs  (Figs.  18-20) 


Fi.ff.  20. 

show  in  what  direction  these  stitches  are  to  he  taken, 
hut  the  principle  is  always  the  same;  where  the  thread 
comes  on  the  right  side  in  the  first  working,  it  must  he 
on  the  wrong  side  in  returning. 

Strong  reds  and  blues  are  the  most  appropriate  colors 


AND  IIOW  TO  USE  THEM. 


51 


for  t-liis  work,  black  being  sometimes  combined  with 
them.  Any  good  cross  stitch  border  will  give  a  pattern, 
and  as  the  work  is  done  over  threads  no  stamping  is 
needed.  Holbein  stitch  is  generally  used  in  connection 
with  drawn  work.  In  fine  material  baste  a  piece  of  can¬ 
vas  on,  and  work  over  it,  drawing  out  the  threads  when 
the  work  is  completed. 

RAILWAY  STITCH. 

Designs  for  this  stitch  should  always  be  of  small 
flowers  and  leaves,  such  as  daisies,  etc.,  arranged  in 
detached  sprays.  Trace  them  lightly.  Commence  to 
work  from  centre;  and  make  each  petal  with  one  stitch. 
Bring  the  needle  up  from  the  back  and  put  in  close  to 
where  it  came  out,  holding  thread  down  with  left  hand, 
and  bringing  it  out  at  the  point  of  the  petal.  Draw  up, 
making  a  long  loop  held  in  centre  by  the  drawn  up 
thread.  Put  the  needle  down  again  just  outside  the 
loop,  thus  making  a  very  small  stitch  at  the  end  of  the 
petal:  run  the  needle  out  at  the  middle  of  the  flower, 
and  repeat.  Finish  the  centre  with  French  knots  or 
button-hole  stitch,  or  pierce  with  a  stiletto.  The  leaves 
should  be  made  with  a  single  railway  stitch.  Fig.  21 
shows  the  manner  of  working  this  stitch  in  connection 


Fie  21. 

with  herring-bone.  The  centre  of  the  flower  is  worked 
in  French  knots, 


52 


NEEDLES  AND  BRUSHES 


A  SHOE  BAG. 

Cut  two  pieces  of  ticking,  one  seventeen  and  a  half 
inches  long  by  fifteen  wide,  the  other  eleven  inches  long 
by  twenty  wide.  On  the  longest  piece,  which  is  the  back 
of  the  bag,  the  braid  need  only  be  put  on  for  seven  or 
eight  inches,  as  the  longer  part  is  hidden  by  the  front 
piece.  Having  stitched  on  red  braid  on  the  alternate 
white  stripes,  work  the  uncovered  white  stripes  with 
fancy  stitches,  arranging  the  colors  as  follows: — First, 
yellow;  second,  brown;  third,  green ;  fourth,  brown ;  fifth- 
yellow;  sixth,  blue.  Now  begin  again  with  yellow,  anq 
repeat  the  colors  in  the  same  order. 

Work  the  stripes  in  herring-bone,  feather,  and  other 
fancy  stitches.  Bind  the  top  of  the  short  piece  with 
braid,  and  stitch  a  piece  of  braid  across  the  bottom  of 
the  work  on  the  longer  piece  to  conceal  the  raw  edges 
of  the  work.  Divide  each  piece  into  three  equal  parts, 
and  baste  the  front  to  the  back  at  these  divisions,  stitch¬ 
ing  them  firmly  down."  Then  lay  the  fulness'thus  formed 
into  three  box-plaits,  forming  three  pockets,  and  baste 
the  bottom  edges  together.  Bind  the  whole  bag  round 
with  braid,  and  make  three  loops  by  which  to  hang  it  up. 

Handsome  chair  and  table-covers,  bracket  and  mantel 
draperies,  can  be  made  of  ticking  by  using  narrow  velvet 
and  embroidery  silk  instead  of  braid  and  worsted.  For 
a  table  cover,  work  a  square  piece  for  the  centre.  The 
border  should  be  worked  in  long  strips,  each  as  long  as 
the  side  of  the  centre  piece,  and  twice  the  width  of  the 
strip  over.  Sew  the  long  strips  to  the  centre  piece,  let¬ 
ting  it  project  an  equal  distance  at  either  end.  Baste 
the  corners  together  with  a  slanting  seam,  which  will 
make  the  border  fit  perfectly  smooth.  Cut  away  the 
superfluous  cloth  and  stitch  the  seams  firmly;  cover  the 
joining  of  the  border  to  the  centre  with  velvet,  and 
finish  the  edge  with  a  chenille  fringe,  or  with  a  row  of 
velvet. 


AND  HOW  TO  USE  TEEM. 


53 


Catch-all  bags  made  of  four  pieces,  square  at  the  up¬ 
per  end,  and  cut  to  a  point  at  the  bottom,  are  very  use¬ 
ful  hung  near  a  sewing  machine.  They  should  be 
finished  with  a  tassel  from  the  point  at  the  bottom,  and 
kept  open  by  a  piece  of  rattan  or  wire  run  into  a  sheath¬ 
ing  at  the  top. 

Fig. 22  gives  a  good  idea  of  the  plainer  kind  of  ticking 
work.  Where  the  stripes  to  be  worked  are  wide  enough 


Fig.  22. 

flowers  worked  in  railway  stitch  may  be  used.  Some  of 
the  French  tickings  come  in  stripes  of  varying  width. 
A  few  stitches  useful  in  this  work  are  here  described. 

Tete  de  Boeuf — is  so  named  from  its  fancied  resem¬ 
blance  to  a  cow’s  head  with  the  horns  attached.  To 
work  it  mark  very  lightly  a  line  down  the  centre  of  the 
stripe,  or  run  a  basting  thread  to  mark  it.  Make  two 
slanting  stitches  meeting  at  the  bottom  on  the  central 
line.  Bring  out  your  needle  (after  putting  it  through 
to  the  back  in  making  the  second  slanting  stitch),  near 
the  bottom  of  the  left  hand  stitch  and  on  the  upper  side. 
Holding  your  thread  as  if  making  a  chain  stitch,  put 
your  needle  in  at  the  same  position  on  the  right  hand 
side,  and  bring  it  to  the  front  again  on  the  central 
line  about  one  quarter  of  an  inch  below  the  slanting 


54 


NEEDLES  AED  BRUSHES. 


stitches.  Put  your  needle  to  the  back  of  tlie  work  just 
belowjtie  cbaiu  stitch,  thus  bolding  it  in  position.  Be- 
peat  this  stitch  at  regular  intervals. 

Wheat  Ear. — Tb is  is  worked  on  a  straight  central 
line.  Work  a  chain  stitch  (rather  long),  and  take  an 
upward  slanting  on  either  side.  In  making  the  slanting 
stitches,  bring  the  needle  out  inside  the  chain  stitch. 

Ship  Ladder. — Make"  aj  straight  stitch  a  quarter  of  an 
inch  in  length  ;  bring  out  your  needle  on  the  right  hand 
side  a  little  above  where  it  went  in,  and  one  quarter  of 
an  inch  off.  Put  it  in  on  the  left  hand  of  the  straight 
stitch,  a  little  below  and  about  a  quarter  of  an  inch  away. 
Bring  the  needle  out  at  the  end  of  the  straight  stitch  and 
repeat. 

Lattice  Stitch. — This  is  useful  for  filling  rather  wide 
spaces.  Work  five  slanting  stitches  across  the  stripe, 
about  a  quarter  of  an  inch  apart,  and  cross  them  by  five 
stitcbes  worked  in  the  opposite  direction,  interlacing 
the  threads  as  you  work.  Miss  a  quarter  of  an  inch  and 
repeat. 

Persian  Cross-Stitch. — This  is  a  long  slanting  stitch 
crossed  by  one  one  half  as  long. 

WORK  BASKET  IN  TICKING  WORK.  (Fig.  23.) 

Cut  four  pieces  of  ticking,  shaped  as  in  the  illustration ; 
in  the  model  these  pieces  are  eight  inches  long  measur¬ 
ing  from  tlie  point,  and  the  cardboard  foundation  is  ten 
inches  square,  but  with  the  corners  rounded  oft'.  Having 
worked  your  ticking,  sew  it  on,  together  with  a  silk  in¬ 
ner  bag,  to  which  the  ticking  work  must  be  caught  by 
carefully  hidden  stitches.  Work  a  handle  and  fasten  on. 
The  fancy  edge  is  crocheted  from  silk  as  follows: — 
Crochet  a  foundation  row  of  the  necessary  length  ;  then 
Avork — 

1st.  Bow:  9  chain,  pass  over  four  loops,  one  double 
in  the  next.  Bepeat. 


AND  MOW  TO  USE  TEEM. 


55 


Fig.  23. 

2d  Bow :  Three  double  in  the  three  centre  stitches  of 
the  nine-chain,  three  picots  (of  five-chain,  one  single  in 
the  first.)  Bepeat. 


PAINTING  IN  OILS, 


Color,  however  brilliant  or  charming-,  can  never  dis¬ 
guise  bad  drawing-,  nor  will  time,  which  may  tone  down 
and  mellow  too  glaring  or  vivid  coloring,  lend  any  dis¬ 
guise  to  faults  of  drawing.  An  old  Italian  proverb  may 
be  freely  translated: — “If  time  corrects  painting,  it 
does  nothing  for  drawing.”  But  if  you  wish  to  begin 
painting,  you  need  not  necessarily  wait  till  you  are  a 
proficient  with  your  pencil.  Good  drawing  may  be 
learnt  as  well  with  the  brush  as  in  any  other  way;  and  in 
fact,  the  artist  must  learn  to  draw  with  his  brush,  that 
is,  to  produce  the  right  effects  of  light  and  shade,  true 
perspective,  etc.  Good  lessons  are,  of  course,  of  ines¬ 
timable  value,  but  many  have  done  much  for  themselves 
by  study  and  assiduous  practice. 

As  tor  the  outfit  required,  it  need  not  necessarily  be 
a  very  expensive  one.  If  you  can  manage  to  have  a 
room  to  yourself,  however  small,  so  much  the  better. 
Darken  all  the  windows  but  the  one  at  which  you  have 
your  easel.  A  northern  exposure  is  to  be  preferred,  as 
the  light  is  more  even.  If  painting  from  nature,  the 
lower  part  of  the  window  should  be  darkened,  in  order 
to  give  the  proper  effects  of  light  and  shade.  Your 
palette  should  be  light  and  fit  your  hand  comfortably. 
Nos.  2,  4,  6,  and  9,  tint  red  sable  brushes,  one  flat  bristle 
brush,  and  one  badger  blender  No.  4,  will  be  a  good  as¬ 
sortment  to  begin  with,  which  can  be  added  to  as  you 
wish.  It  is  well,  however,  to  have  two  or  three  No.  6 

56 


AND  HOW  TO  USE  THEM. 


57 


brushes,  as  that  size  is  constantly  needed.  Get  the  best 
brushes,  as  it  is  very  unsatisfactory  to  work  with  poor 
tools.  For  the  same  reason,  get  Windsor  &  Newton’s 
paints,  which  are  more  reliable  than  the  American.  A 
good  selection  of  colors  would  be  the  following:— 


*  Silver  White. 
Yellow  Ochre. 
Light  Cadmium. 
Medium  Cadmium. 
Orange  Cadmium. 

*  Li ght  Red. 

*  Vermilion. 
Madder  Lake. 
Rose  Madder. 

*  Indian  Red. 


Permanent  Blue. 

*  Antwerp  Blue. 

*  Terre  Verte. 

Zinnober  Green  (light; 

Schonfeldt’s). 

Raw  Umber. 

Burnt  Sienna. 

Bone  Brown. 

*  Ivory  Black. 

Blue  Black. 


Cobalt. 

This  list  can  be  shortened  by  taking  only  the  colors 
marked  with  an  asterisk,  with  the  addition  of  burnt  um¬ 
bel’,  raw  sienna,  and  Naples  yellow.  For  some  reasons 
it  is  far  better  to  restrict  yourself  to  as  few  colors  as  pos¬ 
sible,  so  as  to  learn  their  capabilities.  The  old  masters 
had  a  much  more  limited  range  of  colors  than  we  now 
possess,  yet  who  will  dare  to  dispute  their  claims  to  pre¬ 
eminence  as  colorists?  To  your  list  of  materials  add  a 
two  ounce  bottle  of  poppy  oil,  a  tube  of  Soeliuee  freres’ 
retouching  varnish,  some  soft  old  calico  or  muslin,  a  tube 
of  megilp,  and,  if  necessary,  transfer  and  tracing  papers. 

A  sketch  block  for  oil  painting,  containing  32  sheets, 
7x10  inches  in  size,  can  be  bought  for  $1.00;  10x14  for 
$2.00.  These  are  good  to  practice  on.  You  can  also 
purchase  wooden  panels,  or  papier  mache,  wooden,  or 
porcelain  plaques  for  decorating.  It  is  considered  ad¬ 
visable,  generally,  to  paint  standing,  but  as  some  will 
find  it  necessary  to  paint  at  a  table,  a  small  easel  for  the 
purpose  will  be  desirable.  It  can  be  made  by  any  car¬ 
penter  from  the  following  measurements:  The  top  and 


58 


NEEDLES  AND  BRUSHES 


bottom  pieces  are  respectively  fifteen  and  seven  inches 
wide,  with  a  perpendicular  brace,  eighteen  inches  in 
height,  connecting  top  and  bottom.  The  side  pieces  con¬ 
necting  the  top  and  bottom  should  have  holes  in  them  at 
regular  intervals  for  about  half  their  length  ;  a  couple  of 
pegs  fitted  into  these  holes  serve  to  support:  a  loose  bar 
of  wood,  on  which  the  picture  rests;  by  means  of  the 
holes  the  picture  can  be  placed  higher  or  lower  on  tlie 
easel  as  is  desired.  A  leg  twenty  inches  long  and  pointed 
at  the  end,  is  hinged  to  the  back  of  the  easel  at  the  top1; 
and  one  twenty-two  inches  long,  pierced  with  holes,  is 
hinged  to  the  bottom  of  the  easel.  T>y  means  of  these 
holes,  the  inclination  of  the  easel  is  governed.  Academy 
board,  or  canvas  stretched  on  a  frame,  can  be  used  to 
paint  on,  instead  of  the  sketch  block  referred  to  above. 

Sketch  your  design  correctly,  but  lightly;  if  you  can¬ 
not  draw,  trace  and  transfer  it  as  directed  elsewhere,  but 
if  you  paint  much  you  will  soon  be  able  to  throw  aside 
these  aids.  Now  study  your  subject  and  “set  your 
palette  ”  with  the  needed  colors.  It  is  well  always  to  put 
the  colors  on  in  the  same  general  order,  as  you  will  then 
work  more  systematically.  To  “set  the  palette,”  squeeze 
out  of  the  tubes  portions  of  color  about  the  size  of  a  pea, 
and  lay  them  along  the  upper  edge  of  the  palette,  be¬ 
ginning  from  the  thumb  side  in  the  following  order :  — 
White,  Naples  yellow,  raw  sienna ,  burnt  sienna,  light  red, 
Indian  red,  vermilion,  terre  verte,  zinnober  green,  umber, 
blue,  and  black.  You  have  thus  ample  space  for  mixing, 
with  the  palette  knife  (which  must  be  added  to  the  list 
given  above),  the  various  tints  on  the  lower  part  of  the 
palette.  The  lighter  tints  are  usually  placed  on  the 
right  hand  side  of  the  palette.  White  or  black  is 
usually  combined  with  all  colors  as  they  are  required 
lighter  or  darker. 

To  make  any  tint,  take  on  the  point  of  the  kuife  a 
.small  portion  of  megilp,  and  the  colors  you  want,  mix 


AND  HOW  TO  USE  THEM. 


59 


them  on  the  palette,  scrape  them  up,  and  lay  them  in 
gradations  for  use. 

Of  course  in  a  single  chapter  we  cannot  enlarge  on 
the  laws  of  color.  The  amateur  should,  if  possible, 
possess  and  study  thoroughly  some  good  book  on  the 
subject. 

The  following  lines  by  Henry  Hopley  White  were 
originally  published  in  connection  with  a  diagram  illus¬ 
trating  the  relation  of  the  colors.  They  may  help  some 
in  the  study  of  color,  and  are  convenient  for  reference. 

“  Blue— Yellow— Red— pure  simple  colors  all 
(By  mixture  unobtained)  we  Primaries  call: 

From  these,  in  various  combinations  blent, 

All  the  colors  trace  their  one  descent, 

Each  mixed  with  each— their  powers  combined  diffuse 
New  colors  forming  Secondary  hues; 

Yellow  with  red  makes  Orange ,  with  blue—  Green; 

In  blue  with  red  admixed,  is  Purple  seen. 

Each  of  these  hues  in  Harmony  we  find, 

When  with  its  complimentary  combined; 

Orange  with  blue,  and  green  with  red  agrees, 

And  purple  tints  near  yellows  always  please. 

These  secondary  Tertiaries  produce, 

And  Citrine—  Olive— Russet— introduce ; 

Thus  green  with  orange  blended  forms  citrine, 

And  Olive  comes  from  purple  mixed  with  green; 

Orange,  with  purple  mix’d,  will  russet  prove; 

And,  being  subject  to  the  rule  above, 

Harmonious  with  each  tertiary  we  view 
The  complemental  secondary  hue. 

Thus  citrine— olive— russet  harmonize 
With  purple— orange— green,  their  true  allies. 

These  hues,  by  white  diluted  Tints  are  made; 

By  black,  are  deepened  into  darkest  Shade. 

Pure  or  combin’d,  the  primaries  all  three, 

To  satisfy  the  eye,  must  present  be ; 

If  the  support  is  wanting  but  of  one, 

In  that  proportion  harmony  is  gone ; 

Should  red  be  unsupported  by  due  share 
Of  blue  and  yellow  pure— combin’d  they  are 
In  green,  which  secondary  thus  we  see, 

The  harmonizing  medium  of  all  three. 

Yellow  for  light  contrasts  dark  purple’s  hue, 

Its  complemental,  form’d  of  red  and  blue. 

Red  most  exciting  is — let  nature  tell 

How  grateful  is,  and  soothing  green’s  soft  spell. 

So  bine  retires— beyond  all  colors  cold. 


60 


NEEDLES  AND  BRUSHES 


While  orange  warm — advancing  you  behold. 

The  union  of  two  primaries  forms  a  hue 
As  perfect  and  decided  as  ’tis  new ; 

But  all  the  mixtures  which  all  three  befall, 

Tend  to  destroy  and  neutralize  them  all ; 

Nay,  Mix  them— three  parts  yellow,  five  of  red, 

And  eight  of  blue— then  color  all  has  fled. 

When  primaries  are  not  pure,  you’ll  surely  see 
Their  complementals  change  in  due  degree: 

If  red  (with  yellow)  to  a  scarlet  tend, 

Some  blue  its  complemental  green  will  blend ; 

So  if  your  red  be  crimson  (blue  with  red), 

Your  green  with  yellow  would  be  varied ; 

If  yellow  tends  to  orange,  then  you  find 
Purple  (its  complement)  to  blue  inclin’d ; 

But  if  to  blue  it  leans,  then  mark  the  change, 

Nearer  to  red  you  see  the  purple  range. 

If  blue  partakes  of  red,  the  orange  then 
To  yellow  tends:  if  yellowish,  you  ken 
The  secondary  orange  glows  with  red, 

Reader,  Farewell  I  my  lesson  now  is'said.” 

Iii  the  first  painting,  the  aim  should  be  to  get  in  what 
is  called  the  “  dead  coloring,”  which  blocks  out  the  de- 
sigu  in  the  principal  colors.  This  done,  the  background 
can  be  laid  in.  If  a  smooth  background  is  wished,  it  can 
be  obtained  by  the  use  of  the  blender,  using  it  somewhat 
after  the  manner  described  for  china  painting.  If  a 
mottled  background  is  wished, two  paintings  are  required. 
First,  cover  the  background  with  a  simple  flat  tone,  say 
terre  verte  and  burnt  sienna.  In  the  second  painting, 
which  must  not  be  done  until  the  first  is  perfectly  dry, 
wipe  the  painting  over  with  a  little  poppy  oil,  being 
careful  to  leave  no  superfluous  oil  on  the  painting.  This 
causes  the  two  coats  of  paint  to  combine.  Now  go  over 
the  painting  with  the  same  tints  used  in  the  dead  color¬ 
ing,  correcting,  improving,  and  softening,  making  the 
high  lights  (that  is  the  parts  nearest  approaching  to 
white),  laying  them  on  with  spirited  touches,  and  with 
rather  stiff  color.  For  the  mottled  effect  in  the  back¬ 
ground  use  Antwerp  blue,  yellow  ochre  and  white,  with 
a  very  little  light  cadmium;  prepare  also  some  terre 
verte  and  burnt  sienna,  with  madder  lake.  Paint  in 


AND  HOW  TO  USB  THEM. 


61 


these  contrasting  tones  in  alternate  masses,  large  or 
small,  as  desired,  and  then  blend  them  with  a  large  soft 
brush.  This  will  give  a  mottled  olive-blue  effect.  A 
spray  of  pink  and  white  chrysanthemums  would  look 
well  on  this  ground. 

For  the  third  or  last  painting,  when  perfectly  dry,  oil 
as  before,  and  touch  up  where  it  is  needed,  putting  in 
the  last  delicate  touches  which  often  serve  to  emphasize 
and  bring  out  the  picture. 

The  “glazing”  is  put  on  at  this  stage.  This  process  is 
the  laying  some  transparent  color,  mixed  only  with  me¬ 
gilp,  oversany  part  to  enrich  and  give  it  depth ;  thus  burnt 
sienna  put  on  over  red  has  a  very  good  effect.  It  must 
be  put  on  sparingly,  so  as  to  see  the  former  paintings 
through  it,  and  even  taken  off  entirely  with  a  rag  or  the 
finger,  in  some  places,  as  in  the  highest  light. 

In  painting,  endeavor  to  lay  on  your  colors  steadily 
anti  boldly,  with  as  few  strokes  of  the  brush  as  possible. 
Keep  your  tints  pure  and  distinct,  each  in  the  place  you 
mean  it  to  be.  Do  not,  by  going  over  and  over  them 
with  the  brush  muddle  and  mix  the  tints,  for  some  tints 
destroy  each  other,  and  the  transparency  and  beauty  of 
the  painting  will  be  lost.  In  softening  or  uniting  the 
tints,  it  is  best  either  to  use  an  intermediate  shade,' or 
else,  with  a  clean  Jl>rush  and  no  color,  to  melt  them  to¬ 
gether.  Much  depends  on  the  first  painting.  It  should 
be  lighter  in  color  than  the  picture  is  intended  to  be,  as 
all  colors  sink,  more  or  less,  into  the  ground  as  they  dry, 
and  it  can  easily  be  glazed  and  toned  down  to  the  proper 
color.  The  shadows  should  be  put  on  thin  in  color,  the 
lights  with  a  greater  body  of  paint,  with  a  sharp  and 
firm  touch.  The  brightest  lights  maybe  painted  quite 
white,  and  glazed  to  the  required  hue;  beautiful  effects 
are  produced  by  glazing,  but  it  is  dangerous  for  the 
student  to  be  too  free  in  the  use  of  it. 

“  Scumbling”  is  the  reverse  of  glazing,  and  is  done  by 


62 


NEEDLES  AND  BRUSHES 


goiugover  the  painting,  when  quite  dry,  with  opaque 
tints  of  a  lighter  hue,  generally  with  a  mixture  of  white. 
Colors  that  are  too  bright  can  thus  be  cooled  down,  and 
objects  made  to  appear  more  distant;  smoke  mist,  and 
the  haziness  of  far-off  hills,  can  be  thus  produced.  The 
color  should  be  laid  on  very  thinly,  with  a  hog’s  bristle 
brush,  and  should  not  be  laid  over  shadows. 

When  painting,  often  retire  from  your  work  and  look 
at  it  from  a  distance,  so  as  to  judge  of  the  effect.  When 
copying  from  nature,  as  in  painting  flowers,  look  at  them 
sometimes  with  your  eyes  half  closed,  or  through  a  tube 
formed  of  rolled  up  paper.  This  will  isolate  your  sub¬ 
ject,  and  help  you  to  see  the  lights  and  shadows  more 
correctly. 

Much  of  the  comfort,  and  success  also,  of  an  amateur 
depends  on  their  keeping  their  painting  materials  in 
good  working  order.  Brushes  put  away  with  paint  in 
them  will  soon  spoil,  while  if  much  paint  is  left  on  the 
palette  considerable  waste  is  involved.  You  can  save 
your  pure  colors  by  taking  them  off  the  palette  with 
your  knife,  placing  them  on  a  plate,  and  then  covering 
them  with  water;  they  can  be  kept  for  several  days  in 
this  condition.  Now  scrape  all  the  waste  color  and  oil 
off  your  palette;  wipe  it  off  with  a  rag  and  pour  a  little 
linseed  oil  on  it  (I  believe  kerosene  oil  is  often  used  for 
this  purpose);  wash  all  the  color  out  of  your  brushes, 
willing" them  with  a  rag,  and  then  dip  them  in  clean  oil. 
Some  prefer  washing  them  in  soap  and  water.  Wipe  the 
dirty  oil  off  your  palette  and  then  rub  it  with  a  little 
clean  oil.  Put  brushes  and  palette  safely  away  from  the 
dust. 

If  possible,  paint  from  nature;  take  simple  objects  at 
first  which  will  await  your  time,  as  flowei’S  and  land¬ 
scapes  will  not.  A  bit  of  drapery  is  excellent  practice. 
If  you  are  at  fault  in  drawing  get  a  good  copy  of  a  flower, 
and  by  it  learn  how  to  draw  the  real  flower,  but  copy  the 


AND  HOW  TO  USE  TIIE  M. 


63 


color  from  the  natural  object.  I  have  found  this  method 
very  helpful.  Don’t  destroy  first  attempts;  they  may 
serve  to  keep  up  your  courage  in  times  of  apparent  fail¬ 
ure;  date  these  attempts,  that  you  may  note  the  prog¬ 
ress  made. 

Painting,  now-a-days,  is  used  for  decorating  almost 
everything.  It  is  so  much  more  effective,  for  the  time 
spent  on  it,  than  embroidery  that,  iu  this  go-ahead  age, 
it  is  not  strange  it  should  be  popular.  On  siik  and 
satin,  decorative  painting  can  be  quickly  executed  by  one 
who  has  a  good  eye  for  color,  and  command  of  the  brush. 
The  method  is  much  the  same  as  above  described,  only 
that  some  means  often  have  to  be  taken  to  prevent  the 
oil  from  spreading.  Some  use  a  mixture  for  this  which 
can  be  obtained  at  the  stores  where  artists’  supplies  are 
sold.  Others  paint  over  the  design  with  oxgall,  and 
others  again  find  that  by  taking  out  their  paints  on  blot¬ 
ting  paper  and  using  turpentine  as  a  medium,  all  danger 
of  this  kind  is  averted.  Satin,  for  painting,  should  be  of 
a  firm,  even  texture.  The  gloss  on  its  surface  is  very 
trying  to  the  eyes,  and  for  this  reason  many  have  had  to 
give  up  using  it.  Plush  and  velvet  are  also  used  to 
paint  on.  The  aim  must  be  to  produce  effective  rather 
than  delicate  work.  The  plush  must  be  firmly  fastened 
on  the  drawing-board,  the  pile  running  downwards.  The 
paint  should  be  taken  out  on  blotting  paper,  and  about 
ten  times  as  much  will  be  needed  as  for  ordinary  paint¬ 
ing.  Use  siccatif  de  Courtray  as  a  vehicle  instead  of 
megilp  or  turpentine.  Sketch  your  design  iu  Chinese 
white,  and  then  press  the  colors  down  with  a  stiff  bristle, 
poonah,  or  pounce  brush,  until  they  fairly  take  hold. 
Dog-wood,  coreopsis,  cactus  and  other  large  blossoms 
are  most  available  for  this  kind  of  painting.  Care  should 
be  taken  that  the  shape  of  the  plush  left  by  the  leaves 
or  flowers  laid  on  it  is  graceful. 


FLOWER  FAINTING 

IN  WATER  COLORS. 


There  is,  perhaps,  no  branch  of  decorative  art  more 
fascinating  and  less  troublesome  to  acquire  than  that  of 
painting  flowers  in  water-colors.  The  outfit  is  so  inex¬ 
pensive  as  to  be  within  the  reach  of  all,  while  there  is  no 
reason  that  any  one,  with  sufficient  taste  and  patience  to 
learn  any  kind  of  fancy  work,  should  not  attain  a  tolera¬ 
bly  satisfactory  degree  of  proficiency.  Of  course,  every 
one  knows  that  really  artistic  work  can  only  be  done  by 
those  who  have  mastered  the  rudiments  of  drawing  and 
color,  and  who  possess  also  some  degree  of  talent.  But 
many,  who  could  never  hope  to  call  themselves  artists, 
will  nevertheless  find,  if  they  but  try,  that  they  can  do 
much  toward  beautifying  their  homes,  and  giving  pleas¬ 
ure  to  their  friends,  by  the  use  of  the  brush.  And  my 
experience  has  been,  that  very  many  of  my  friends  who 
now  can  paint  with  both  skill  and  taste,  succeeded  in  de¬ 
fiance  of  all  the  rules  of  the  schools.  They  attempted  to 
paint  before  they  could  draw;  when,  in  fact,  they  had  to 
trace  everything  they  wished  to  paint.  Their  first  emo¬ 
tion  after  carefully  coloring  a  traced  drawing  was  sur¬ 
prise  that  they  could  do  so  much,  but  quickly  followed 
the  feeling  of  dissatisfaction  with  their  work,  accom¬ 
panied, 'however,  with  the  conviction,  that  having  once 
painted  a  flower  they  could  certainly  improve  on  it.  The 
beginning  is  the  great  trouble.  To  avoid  difficulties, 
64 


AND  HOW  TO  USE  THEM . 


65 


therefore,  I  strongly  advise  all  who  are  afraid  to  draw,  to 
trace  their  copy  on  thin  paper  and  transfer  it,  by  means 
of  transfer  paper,  to  the  card  or  paper  on  which  they 
intend  to  paint.  If  corrections  are  needed  a  piece  of 
bread,  broken,  not  cut  out  of  the  loaf,  is  very  much  bet¬ 
ter  than  India  rubber  in  rubbing  pencil  marks  out.  It  is 
also  useful  in  removing  color,  and  is  often  used  in  order 
to  pick  out  the  high  lights. 

Having  decided  to  begin,  the  next  question  is,  as  to  an 
outfit.  Winsor  and  Newton’s  paints,  either  iu  tubes  or 
pans,  are  decidedly  the  most  desirable.  A  box  contain¬ 
ing  tAvelve  half  pans,  comprising  the  most  needful  colors, 
and  a  sufficient  assortment  of  brushes,  can  be  obtained 
for  about  $3.50.  But  the  smaller  boxes  of  French  colors, 
costing  from  50  cents  upward,  are  quite  satisfactory,  and 
you  can  always  add  to  your  assortment  of  colors.  Two 
brushes,  either  sable  or  camel’s-hair,  will  be  enough  for 
a  beginner.  These  vary  a  little  iu  price,  but  camel’s- 
hair  brushes  generally  cost  about  five  cents  a  piece.  Yon 
can  make  your  own  holders.  For  making  up  your  box 
you  can,  if  you  choose,  omit  some  of  the  colors  given,  as 
their  place  can  be  supplied  by  mixing  other  colors.  I 
give  a  list  of  desirable  colors  from  which  to  choose. 
Those  iu  italics  are  not  necessary  to  a  beginner,  although 
very  useful. 


*Blue  black . $0.10 

f  Burnt  umber .  10 

Hooker’s  green,  No.  1 .  10 

“  “  No.  2 .  10 

*Vermilion . 10 

Brown  madder .  20 

f  Cadmium  yellow .  40 

+Raw  sienna .  40 

*Ckrome  yellow,  1,  2,  3,  4 . 10 

fCobalt . 25 


66 


NEEDLES  AND  BRUSHES 


Carmine  . .  40 

Pink  madder .  40 

Crimson  lake . 20 

Gamboge .  10 

Indigo .  10 

Aureolin . . .  40 

*  Olive  green .  10 

Prussian  blue .  . 10 

The  colors  marked  with  a  (*)  are  opaque, 
and  those  with  a  (t)  are  semi-transparent. 


Indigo  can  be  made  by  a  mixture  of  Prussian  blue, 
black,  and  crimson  lake. 

This,  again,  combined  with  Indian  yellow,  makes  a 
rich,  dark  green. 

Olive  green  is  made  by  mixing  Prussian  blue,  gam¬ 
boge,  and  vermilion. 

Almost  the  same  effect  can  be  produced  with  a  mix¬ 
ture  of  vermilion  and  gamboge,  or  Indian  yellow,  as  with 
cadmium. 

Prussian  blue,  with  gamboge  or  cadmium,  modified  by 
burnt  sienna,  madder,  or  umber,  gives  a  good  number  of 
greens.  Hooker’s  greens,  however,  are  extremely  con¬ 
venient,  and  zinnobar  green  (which  comes  in  tubes),  is 
especially  useful  when  a  warm  light  tint  is  needed. 

Almost  all  flowers  and  leaves  need  gray  in  some  step 
of  the  painting,  and  this  is  generally  obtained  by  a  com¬ 
bination  of  different  blues,  reds,  and  yellows. 

4  Thus  for  a  greenish  gray,  cobalt  and  chrome  yellow, 
No.  2  or  3,  would  be  used.  For  the  shadows  of  white 
flowers,  cobalt,  Indian  yellow,  and  Indian  red,  form  a 
good  tint.  I  have  space  only  for  a  few  hints  on  this 
subject.  Careful  study,  observation,  and  experiment 
can  alone  teach  you. 

The  next  thing  to  be  supplied  is  the  surface  on  which 
to  paint.  Whatman’s  water-color  paper  is  the  very  best 


AND  HOW  TO  USE  THEM. 


67 


to  be  used,  but  cards,  panels,  and  even  a  good  quality  of 
wrapping  paper  will  do.  For  real  study,  however,  a 
block  of  Whatman’s  paper,  costing  according  to  size 
from  25  cents  to  $2.95,  is  decidedly  the  most  desirable. 
The  blocks  are  preferable  to  paper  in  sheets,  as  it  obvi¬ 
ates  the  need  of  stretching.  This  paper  is  very  absorbent, 
so  that  you  must  have  your  color  mixed  so  that  it  will 
flow  freely.  Have  a  piece  of  rag  by  you  to  wipe  your 
brushes  on  after  washing  them. 

The  following  directions  for  painting  on  velvet  are 
compiled  from  the  “  Art  Interchange 

“  Cotton  velvet  or  velveteen  of  a  close  pile  or  make  is 
preferable  to  silk  velvet.  The  colors  used  are  the  ordi¬ 
nary  water  colors,  mixed  with  veluntine  or  gum  dragon, 
sal  volatile,  or  spirits  of  wine,  so  as  to  prevent  their  run¬ 
ning  into  each  other.  The  brushes  are  those  known  as 
scrubs;  they  are  made  of  bristles  and  have  flat,  bushy 
ends,  instead  of  pointed  ones.  As  the  velvet  cannot  be 
touched  by  the  hand  while  working  on  it  without  spoiling 
the  pile,  a  liand-rest,  such  as  is  described  in  the  chapter 
on  China  Painting,  is  needed.  It  must  be  long  enough 
to  extend  entirely  across  the  velvet. 

“Pounce  your  design  on  the  velvet  according  to  the 
directions  on  page  63.  Mix  up  in  various  small  saucers 
the  tints  required,  adding  to  each  a  little  veluntine,  or 
gum  dragon,  or  either  of  the  other  mediums  named. 
Make  the  colors  perfectly  smooth  and  as  thick  as  weak 
cream,  and  do  not  attempt  more  than  two  shades  of  a 
color.  Dip  the  brush  into  the  darkest  tint  of  a  color, 
and  well  fill  it,  letting  any  superfluous  color  drain  off  on 
blotting-paper.  Hold  the  brush  upright  over  the  velvet 
and  paint  by  dabbing  it  on  the  velvet;  never  dab  the 
color  quite  to  the  edge  of  a  leaf  or  petal,  but  take  a  clean 
dry  brush,  and  soften  it  off  gradually  there.  Put  in  all 
the  darker  parts  first,  and  never  work  over  them  or  near 
them  till  they  are  quite  dry;  then  take  another  clean 


68 


NEEDLES  AND  BRUSHES 


scrub  and  finish  with  the  lighter  parts.  Let  one  color 
dry  perfectly  before  another  is  put  on,  and  make  the 
colors  as  solid  as  they  will  bear.  Add  a  little  water  to  a 
color  when  it  is  being  softened  down,  but  with  very 
great  care.  Two  shades  on  a  leaf  or  petal  can  be  soft¬ 
ened  into  each  other  by  brushing  the  leaf  with  the  hard 
brush  the  way  in  which  the  pile  runs  most  easily,  and 
then  the  contrary  way.  Sketch  in  the  stamens,  veins 
and  fine  lines  of  the  design  with  a  crow-quill  pen  after 
the  painting  is  dry.  When  all  the  work  is  done,  take  a 
smooth,  soft  hat  brush  and  brush  it  gently  over  the  work 
so  as  to  raise  any  part  of  the  pile  that  may  have  been 
flattened. 

“Dark  colored  velvets  must  have  the  design  painted 
over  in  Chinese  white  before  coloring.  To  do  this  paint 
the  design  over  with  a  slight  wash  of  veluutine;  let  this 
dry  thoroughly,  and  then  put  on  Chinese  white,  mixed 
with  veluutine,  putting  it  on  as  dry  as  possible.  Then 
paint  with  the  right  colors,  mixed  with  veluutine,  and 
shading  as  sparingly  as  possible.  Do  not  brush  when 
finished  unless  the  pile  is  much  flattened.” 


KENSINGTON  AND  LUSTRA 
PAINTING. 


Many  people  who  desire  to  beautify  their  homes  or  to 
make  handsome  and  acceptable  presents,  are  unable  to 
spare  the  time  required  by  needle  work.  To  such,  Ken¬ 
sington  painting  offers  a  quick  and  easy  means  of  decor¬ 
ation.  The  materials  required  are  oil  paints  (in  tubes), 
a  porcelain  palette,  red  sable  brushes,  Nos.  4  and  6  (it  is 
well  to  have  several  of  these),  spirits  of  turpentine,  and 
the  inevitable  rag.  The  same  care  must  be  taken  as  to 
background,  coloring,  etc.,  as  in  embroidery,  and  the 
same  hints  should  be  observed  as  to  realistic  treatment. 
The  object  is  decoration  and  not  picture  making. 

Squeeze  the  colors  out  on  the  palette,  mixing  them  to 
meet  the  requirements  of  your  work.  Do  not  thin  them, 
but  use  as  thick  as  possible.  A  little  sugar  of  lead  or 
megilp  mixed  with  them  will  facilitate  drying,  and  pre¬ 
vent  the  possible  spreading  of  the  oil.  If  the  colors 
seem  to  contain  too  much  oil,  take  them  out  on  blotting 
paper  before  placing  them  on  the  palette. 

Have  your  design  distinctly  outlined,  but  keeping  the 
lines  as  light  as  practicable.  Lay  on  the  colors  smoothly, 
painting  from  the  edge  of  the  design  in,  so  as  to  have  the 
outlines  definite.  Use  the  colors  which  you  will  need 
in  the  finished  work,  but  the  shading  and  blending  of 
the  tints  need  not  be  done  as  carefully  as  in  ordinary 
painting.  Let  it  dry  for  a  few  minutes,  and  then  with  a 
steel  or  lacquered  pen  scratch  in  the  coloring  so  as  to 

G9 


70 


NEEDLES  AND  BRUSHES 


simulate  the  stitches  iu  “  tilled  in  ”  work.  An  ordinary 
pen  will  do,  hut  pens  with  three,  five,  and  seven  points 
each,  can  he  bought  for  ten  cents  a  piece,  and  the  work  is 
done  much  more  quickly  with  them. 

If  you  wish  to  use  a  light  shade  of  a  transparent  color 
on  a  dark  ground,  paint  first  with  white,  scratch  it  in, 
and  then  paint  with  the  required  color. 

Satin,  velvet,  velveteen,  are  all  good  materials  on 
which  to  work,  and  I  think  liolland  linen  might  he  used 
to  good  advantage.  I  have  seen  a  lovely  mantel  scarf 
painted  in  oils  on  such  linen,  the  background  being 
relieved  with  dashes  of  gold.  The  design  was  dog¬ 
wood,  a  plant  that  is  extremely  decorative  in  character, 
and  that  has  been  very  much  used  for  this  purpose. 

Kensington  painting  is  not  considered  artistic,  hut  it 
is  quite  pretty,  and  many  can  avail  themselves  of  it  who 
have  not  time  or  patience  for  that  Art  to  which,  like 
Learning,  there  is  no  royal  road. 

LUSTRA  PAINTING. 

It  is  quite  important  in  doing  this  work  to  procure  the 
best  materials,  as  the  metallic  colors  lose  their  tone  and 
brilliancy  if  of  inferior  make.  Bragdon’s  colors  are 
recommended  by  the  highest  authorities  on  the  subject. 
A  complete  outfit  consists  of  from  three  to  six  hog’s-hair 
brushes  of  different  sizes,  a  china  palette,  six  bottles  of 
metallic,  and  five  of  opaque  powder  colors,  palette-knife, 
turpentine,  and  a  bottle  of  medium. 

The  medium  must  be  used  very  freely,  and  must  be 
thoroughly  mixed  with  the  colors.  One  can  begin,  how¬ 
ever,  with  a  much  smaller  assortment.  One  or  two 
shades  of  bronze,  two  shades  of  gold,  and  some  of  the 
bronze  green  can  be  used  to  begin  with;  the  assortment 
being  enlarged  when  needed. 

One  great  advantage  that  Lustra  has  over  ordinary 
painting  lies  in  the  fact  that  it  can  be  washed,  if  care  is 


AND  EOW  TO  USE  THEM. 


71 


taken  in  the  process.  Linen,  satin  sheeting,  velvet,  vel¬ 
veteen,  anti  plnsh,  all  offer  a  good  surface  for  these 
colors.  Care  should  be  taken  to  select  velvet,  velveteen 
or  plush,  that  has  a  short  nap,  as  the  colors  wet  the  pile 
and  cause  it  to  lie  flat.  The  work  is  very  much  more 
beautiful  on  velvet  and  similar  surfaces,  but  lately  an 
invention  has  been  patented  by  means  of  which  a  plush¬ 
like  surface  is  given  to  a  design  on  any  material,  whether 
of  wood,  stone,  paper,  metal,  or  textile  fabrics.  The  effect 
is  that  of  plush  applique.  The  process  is  said  to  be  a 
very  simple  one,  and  the  material  used — “  plushette  ” — 
is  comparatively  inexpensive. 

In  beginning  work,  select  a  simple  design,  choosing 
one  in  which  the  forms  are  large  and  distinct.  A  good 
crewel  design  of  large  flowers  or  leaves  is  an  excellent 
one  for  a  beginner.  Transfer  it  as  for  embroidery, 
drawing  in  veins,  and  stalks,  but  no  lines  indicating 
shading.  On  velvet  and  similar  material  it  is  gener¬ 
ally  best  to  have  the  stamping  done  at  a  fancy  work 
store.  Fa.sten  your  material  on  a  drawing  board  with 
thumb  tacks.  Take  a  little  of  the  metallic  color,  either 
gold  or  silver,  out  on  the  palette,  and  rub  it  down  with 
the  knife  till  it  is  perfectly  smooth  ;  then  add  medium, 
mixing  them  thoroughly  until  you  have  a  perfectly 
smooth  liquid.  This  is  to  be  used  as  a  stopping,  to  pre¬ 
vent  the  opaque  colors^from  sinking  into  the  material. 
Rub  it  well  into  every  petal  and  leaf,  using  it  freely,  so 
that  it  will  adhere  as  a  flat  wash.  Use  the  brightest 
silver  or  gold  metallic  colors  over  all  the  parts  of  the 
leaf  they  are  used  for;  work  in  the  various  shades  of 
metallic  colors  in  this  way,  using  both  silver  and  gold 
on  the  same  flower,  if  contrast  is  desired,  and  working- 
over  every  petal  and  leaf  until  a  strong,  smooth  surface 
of  color  is  obtained,  the  lightest  part  being  either  bright 
gold  or  silver,  and  the  deepest  shades  with  the  darker 
metallic  colors.  On  linen  the  metallic  colors  need  not 


72 


NEEDLES  AND  BRUSHES 


be  used  for  “  stopping',’’  tbe  painting  being  done  in 
opaque  colors,  often  with  only  a  few  metallic  touches. 
After  the  surface  in  metallic  colors  described  above  has 
been  obtained,  take  the  opaque  powder  color,  treating 
it  in  the  same  way  as  the  metallic  color,  and  the  first 
painting  being  dry,  deepen  all  the  shadows  with  their 
]> roper  colors,  using  a  clean  brush  and  rubbing  them 
well  in.  Use  rose  red  tints  above  the  gold,  the  white, 
etc.,  above  the  silver,  and  white  and  black  above  the 
green  metallics. 

Do  not  attempt  any  fine  gradations  of  shade,  but  trust 
to  the  effect  of  broad  masses  of  color  well  combined, 
Omit  stamens  and  other  very  fine  lines.  The  two  things 
to  be  chiefly  attended  to  in  lustra  painting  are,  tlie  rub¬ 
bing  the  colors  perfectly  smooth,  and  working  them  up 
until  not  a  trace  of  the  material  remains. 

PAINTING  IN  GOLD. 

Very  pretty  decorative  effects  are  produced  by  paint¬ 
ing  on  crash,  linen,  etc.,  in  gold,  and  afterwards  outlining 
the  design  in  silks.  A  bold  conventional  design  must  be 
used  for  this  purpose.  When  the  design  has  been  clearly 
stamped  on  the  material  (even  such  coarse  stuff  as  sack¬ 
ing  or  burlaps  can  be  used),  paint  it  carefully  with  oil 
paint. 

A  good  tint  is  made  by  mixing  chrome  yellow,  raw  si¬ 
enna,  and  a  very  little  Prussian  blue.  This  will  give  a 
greenish  tinge  to  the  gold.  When  this  coat  is  thoroughly 
dry,  paint  it  over  with  gold  paint.  Care  should  be  taken 
to  get  a  good  article,  as  poor  gold,  silver,  or  bronze 
paints,  tarnish  very  quickly. 

The  painting  done,  outline  the  design  with  silk  match¬ 
ing  the  paint  or  a  shade  darker.  Twisted  chain  stitch 
would  be  very  effective  for  this  purpose.  Both  gold  and 
silver  paint  might  be  used  in  the  same  design.  Very 
charming  door  panels  could  be  painted  in  this  way. 


AND  HOW  TO  USE  THEM. 


73 


The  tacks  used  in  fastening  the  work  in  jdace  should  be 
concealed  by  a  narrow  gilt  beading,  or  a  narrow  strip  of 
Lincrusta  Walton  could  be  used.  Screens,  friezes, 
stripes  for  portieres,  would  be  very  novel  decorated  in 
this  way. 


\ 


STENCILLING 


This  chapter  might  appropriately  be  headed  “  Decora¬ 
tion  made  easy,”  so  simple  and  effective  is  the  work. 
Given  good  taste  as  to  color  and  form,  or  even  Queen 
Elizabeth’s  power  of  choosing  good  advisers,  and  a  little 
care  and  neatness  are  the  only  requisites  for  producing 
pleasing  results. 

A  stencil  is  a  pattern  cut  out  of  a  thin  sheet  of  some 
stiff  material,  applied  smoothly  to  the  surface  to  be  dec¬ 
orated,  the  parts  of  said  surface  left  uncovered  by  the 
cut-out  pattern  being  then  painted  over  with  the  de¬ 
sired  color. 

These  stencils  can  be  cut  out  from  sheet  brass,  zinc, 
thin  wood  or  cardboard.  The  metal  is  preferable  for 
small  patterns,  as  it  is  more  durable,  and  less  liable  to 
absorb  the  paint.  They  can  lie  cut  out  with  a  .fret  saw, 
or  a  sharp  knife.  When  made  from  cardboard  it  is  a 
good  plan  to  use  two  thin  sheets,  pasted  together  with 
strong  paste.  These  cardboard  sheets  are  especially 
useful  for  large  patterns,  as  they  are  not  so  apt  to  warp 
or  bend.  When  they  are  to  be  used  for  distemper  they 
should  be  painted  over  with  “  Pattern  Knotting.”  This 
can  be  procured  at  any  paint  store  or  made  at  home,  by 
dissolving  gum  shellac  in  naphtha. 

Patterns  for  stencils  should  be  designed  on  paper, 
pasted  on  to  the  sheet  from  which  the  stencil  is  to  be 
cut,  and  then  cut  out  with  a  fret  saw,  or  a  sharp  knife. 
The  edges  of  the  pattern  should  be  clear  cut.  It  may  be 

74 


AND  HOW  TO  USE  THEM. 


75 


necessary  sometimes  to  leave  small  bits  of  the  pattern 
uncut,  so  as  to  hold  the  design  in  place.  When  the 
paint  has  been  applied,  these  bits  will  appear  as  blem¬ 
ishes,  and  must  be  carefully  painted  in  by  hand.  This 
process  of  stencilling  can  be  applied  to  many  uses. 
Tiles  and  plates  can  be  very  prettily  decorated  Hn  min¬ 
eral  colors,  and  the  stencilled  patterns  can  be  afterward 
touched  up  by  hand.  When  a  pattern  is  to  be  repeated 
a  great  many  times,  a  stencil  saves  much  labor,  and 
insures  a  greater  degree  of  uniformity. 

Some  economically  inclined  people  transform  Brussels 
carpet  from  which  the  pattern  is  worn  off  into  very  ser 
viceable  oilcloth  by  painting  the  wrong  side.  Gener¬ 
ally,  a  plain  coat  of  yellow  ochre  is  considered  sufficient, 
but  a  really  pretty  floor  covering  could  be  made  by  sten¬ 
cilling  a  border,  consisting  either  of  one  of  the  key 
patterns,  or  of  a  continuous  leaf  or  vine  patterns.  I 
have  seeu  in  an  artist's  studio  a  matting  on  the  floor, 
painted  grey  with  a  border  of  Indian  red.  The  centre 
was  a  square  of  grey  surrounded  by  a  border  of  red,  of 
the  same  width  as  the  outside  border.  This  red  was 
edged  on  either  side  by  a  line  of  black,  and  the  centre 
border  was  divided  into  small  squares  by  black  lines. 
Each  of  these  squares  had  little  flgure  pieces  painted  in 
black.  The  effect  was  extremely  pretty,  and  by  means 
of  well  chosen  stencils  could  be  easily  achieved  by  one 
wholly  ignorant  of  drawing. 

Stencilling  is  particularly  useful  in  the  decoration  of 
large  surfaces.  A  pretty  frieze  can  be  easily  executed 
by  this  means,  and  the  whole  wall  itself  may  be  en¬ 
livened  by  means  of  the  stencil.  We  are  apt  to  think  of 
whitewashed  walls  with  a  certain  degree  of  scorn,  but 
distemper  painting  was  after  all  but  a  variety  of  white¬ 
washing,  arid  there  are  several  considerations  which 
plead  with  many  in  favor  of  the  use  of  a  lime  or  whiting 
wash  for  our  walls.  The  first  of  these  is  its  superior 


76 


NEEDLES  AND  BRUSHES 


cleanliness,  and  therefore  wholesomeness.  It  is  inex¬ 
pensive  also  and  not  difficult  to  put  on,  and  can  there¬ 
fore  be  renewed  at  will.  Those  who  have  suffered  from 
an  ugly  or  inappropriate  wall  paper  which  could  not 
be  renewed  without  incurring  an  undesirable  expense, 
can  appreciate  this  advantage.  For  those  who  wish  to 
try  decorated  walls  done  with  whitewash,  I  copy  the 
following  directions  for  a  wash  that  will  not  rub  off — : 

“  Take  of  good  unslaked  lime  half  a  bushel,  and  slake 
with  boiling  water,  covering  it  during  the  process  to 
keep  the  steam  in.  Strain  the  liquid  through  a  fine 
sieve  or  strainer,  and  add  of  salt,  one  peck,  previously 
well  dissolved  in  water,  of  rice,  three  pounds,  boiled  to 
a  thin  paste  and  stirred  in  boiling  hot,  one  pound  of 
clean,  nice  glue,  which  has  previously  been  dissolved  by 
soaking  it  well,  and  then  boiled  in  the  usual  manner. 
Now  add  five  gallons  of  water  to  the  mixture,  stir  it 
well,  and  let  it  stand  a  few  days,  carefully  covered  over 
from  dust.  This  whitewash  has  a  remarkably  brilliant 
lustre,  and,  it  is  said,  will  last  thirty  years.  Coloring 
matter,  such  as  Spanish  brown,  umber,  chrome,  or  ochres, 
singly  or  mixed,  adds  to  its  effect.  Indigo  or  blue  vit¬ 
riol  give  a  good  blue  color.  If  you  find  this  too  expen¬ 
sive  or  troublesome,  a  very  good  permanent  wash  jnay  be 
made  bjr  simply  infusing  two  ounces  of  glue  to  every 
four  pounds  of  lime  or  whiting.  This  will  not  rub  off.” 

The  ground  should  be  smoothly  laid  on  in  the  desired 
color,  and  allowed  to  become  perfectly  dry.  Then  fasten 
your  stencil  flat  on  the  wall,  in  the  desired  place.  It 
must  lie  perfectly  close  to  the  wall  as  otherwise  the 
color  may  run  underneath  and  thus  destroy  the  outline. 
Paint  over  the  stencil  with  the  color  prepared  for  the 
design,  and,  having  carefully  removed  the  stencil,  wipe 
any  superfluous  color  off  it,  and  arrange  it  for  the  next 
division  of  the  pattern.  Leaves  may  be  easily  formed 
into  graceful  designs  for  borders  for  a  wall.  Good  de- 


AND  now  TO  USE  THEM. 


77 


signs  may  be  copied  from  wall  papers,  carpet  borders,  or 
damask  linens. 

Oil  paints  can  be  used  in  the  same  way  for  decorative 
purposes.  The  brushes  to  be  used  for  stencilling  are 
of  various  sizes  according  to  the  work  to  be  done;  they 
should  have  a  broad,  flat  surface,  like  the  brushes  used 
for  putting  in  grounds  in  china  painting.  Stencilling 
can  also  be  used  on  linen  canvas  for  portieres,  curtains, 
etc.,  with  great  success. 

Where  the  pattern  is  to  be  repeated  several  times,  the 
local  or  ground  color  can  be  stencilled,  and  the  design 
afterward  touched  up  carefully;  this  touching  up  giv¬ 
ing  the  individuality  to  the  work,  which  distinguishes 
hand  from  machine  labor. 

Very  beautiful  decorations  may  be  applied  to  articles 
made  of  white  wood  by  means  of  stencils.  A  very  pretty 
table  was  for  sale  in  the  rooms  of  the  Society  of  Dec¬ 
orative  art.  It  was  of  white  wood  with  ebonized  legs. 
The  top  was  square,  the  centre  forming  a  chessboard,  the 
squares  alternately  of  black  and  white.  On  the  white 
squares  were  silhouettes  of  children;  and  immediately 
around  the  chessboard  was  a  band  of  white,  on  which 
was  a  procession  of  children.  The  outer  border  was  a 
baud  of  black.  The  figures  on  the  table  were  presumably 
drawn  by  hand,  but  I  have  selected  it  as  a  good  instance 
of  what  could  be  done  without  any  knowledge  of  draw¬ 
ing.  The  figures  could  be  easily  selected  from  tbe  many 
illustrations  in  children’s  books,  by  Miss  Ledyard,  Miss 
McDermott,  Kate  Greenaway  and  others. 

The  table-top  should  b z  perfectly  smooth  and  clean  be¬ 
fore  beginning  work.  With  ruler  and  pencil  mark  off 
your  chess  board,  and  the  line  separating  the  two  outer 
borders.  Have  ready  in  a  saucer  or  plate  some  lamp¬ 
black  and  turpentine  mixed  to  the  consistency  of  cream. 
Paint  your  outside  border,  and  the  alternate  squares  on 
the  chess  board  with  this  mixture,  taking  care  to  keep 


78 


NEEDLES  AND  BRUSHES 


the  lines  true.  While  this  is  drying  prepare  your  sten¬ 
cils.  If  you  prefer,  your  border  can  be  a  vine  or  a  purely 
conventional  pattern,  and  the  designs  for  the  square  may 
correspond.  When  the  paint  is  quite  dry  you  can  stencil 
iu  your  designs  with  the  lamp-black.  Let  it  get 
thoroughly  dry,  and  then  paint  all  over  again,  repeating 
the  process  until  the  painting  is  of  a  dense  black.  When 
the  last  coat  is  perfectly  dry,  rub  thoroughly  with 
pumice  stone:  wash  off  with  clear  water,  varnish  again. 
Let  this  dry,  then  rub  with  a  soft  flannel,  repeating  the 
process  until  a  perfect  polish  is  obtained. 

Any  other  design  could  be  substituted,  as,  for  instance, 
leaves,  flowers,  and  butterflies  scattered  carelessly  over 
the  surface.  The  varnish  gives  a  beautiful  yellow  tinge 
to  the  wood. 

In  a  box  which  I  own,  the  process  described  above  has 
been  reversed,  the  background  being  black,  and  the 
pattern  left  white.  When  this  is  done,  the  design  must 
be  carefully  shaded  with  India  ink,  and  although  the 
effect  is  prettier,  much  more  work  and  more  knowledge 
off  drawing  is  required  than  in  the  flrst  process.  If  pre¬ 
ferred,  the  design  can  be  transferred  to  the  wood  and 
then  painted  in  with  black. 

This  work  is  very  appropriate  for  ornamenting  hand¬ 
kerchief,  glove,  or  work  boxes,  and  for  panels  in  cabinet 
doors.  The  effect  is  very  much  that  of  inlaid  work. 
Monograms  and  appropriate  mottoes  can  be  used  with 
good  effect. 

A  very  good  imitation  of  ground  glass  can  be  made  as 
follows: — 

Take  a  piece  of  stencil  paper  just  fitting  the  pane  of 
glass,  and  draw  a  suitable  design,  cutting  out  the  parts 
which  are  to  be  opaque.  This  pattern  may  be  the  same 
for  all  the  panes,  or  the  centre  panes  can  be  merely 
decorated  with  trefoils  or  stars,  while  a  border  is  carried 
round  the  outer  panes. 


AND  HOW  TO  USE  THEM. 


79 


Take  a  piece  of  putty  two  inches  in  diameter,  and  put 
it  in  a  piece  of  thin  muslin,  twisting  up  the  latter  so  as 
to  form  a  handle,  and  having  one  side  smooth.  Clean 
the  glass  well,  fit  in  your  stencil,  and  pat  the  surface 
over  with  the  pad.  Take  the  stencil  carefully  off,  and 
when  dry,  varnish  with  transparent  varnish. 

To  make  this  varnish,  dissolve  one  part  pearlash  in 
about  eight  parts  water,  add  one  part  shellac,  and  heat 
the  whole  to  the  boiling  jmint.  When  the  lac  is 
dissolved,  cool  the  solution,  and  saturate  it  with  chlo¬ 
rine  until  the  lac  has  all  settled.  When  it  is  dissolved 
in  alcohol,  it  forms  a  varnish  which  is  as  transparent  as 
any  copal  varnish. 


WOOD  CARVING 


Modelling,  wo^d  carving,  working-  in  papier  maclie, 
or  in  boiled  leather,  are  all  arts  which  are  comparatively 
easy  of  attainment,  (that  is,  so  far  as  decorative  work  is 
concerned),  to  all  who  have  attained  a  fair  proficiency 
with  the  pencil.  Not  only  so,  but  they  themselves  will 
aid  the  amateur  iu  attaining-  that  proficiency.  Here,  as 
in  everything  that  is  worth  doing-  at  all,  one  must  be 
willing  to  begin  at  the  lower  round  of  the  ladder.  Dili- 
,  gent  practice  will  soon  give  you  the  control  of  your 
tools;  after  that,  your  progress  need  only  be  limited  by 
your  talent. 

The  first  essential  is  to  provide  yourself  with  good 
tools.  Ho  not  get  fancy  tools,  such  as  are  put  up  iu  sets 
for  amateur’s  use,  but  make  up  your  set  as  you  find  out 
your  needs.  The  best  tools  are  of  English  make,  and 
should  have  ash  handles.  Short  handles,  not  more  than 
three  inches  in  length,  are  preferable  for  beginners,  but 
experts  can  get  a  firmer  grip  of  their  tools  with  longer 
handles.  Carpenter’s  gouges  and  chisels  can  be  used, 
the  principal  difference  between  them  and  carver’s 
tools  being  in  the  shape  of  the  edge.  Iu  the  latter,  the 
tool  is  ground  on  both  sides,  giving  a  roof-shaped  edge. 
Carpenter’s  tools  having  an  edge  on  one  side  only,  have 
to  be  frequently  turned  in  the  using. 

A  full  set  of  carver’s  tools  would  be  about  thirty  iu 
number,  but  half  a  dozen  will  do  for  a  beginner,  and  it 
will  probably  be  a  year  before  you  will  need  more  than 

80 


AND  HOW  TO  USE  THEM. 


81 


a  dozen.  It  is  always  best  to  have  few  tools  in  tlie  be¬ 
ginning  and  to  learn  thoroughly  the  use  of  the  few.  The 
same  rule  applies  in  almost  all— indeed,  I  may  safely  say 
in  all — the  minor  arts.  Some  of  the  most  delicate  carv¬ 
ings  in  China  have  been  executed  with  most  awkward 
and  inconvenient  tools. 

One  of  the  first  necessities  for  wood  carving  is  a  com¬ 
mon  table,  strength  and  weight  being  important  quali¬ 
ties.  To  this  your  work  should  be  screwed  or  uailed 
(using  French  points  for  nailing)  at  first,  but  as  you 
progress  a  hold-fast  and  carver’s  screw  will  be  neces¬ 
sary.  When  you  find  these  essential  they  can  be  pro¬ 
cured  at  a  tool  shop. 

A  tracing  wheel,  such  as  is  used  by  saddlers,  is  a  very 
important  tool,  as  are  also  a  few  punches  or  stamps  for 
the  background,  but  a  little  ingenuity  will  enable  you 
to  substitute  other  tools  for  them  if  they  are  not  to  be 
had.  A  few  hollow  gouges,  a  few  flat  ones,  and  some 
chisels,  are  essential,  as  well  as  a  Y  or  parting  tool.  A 
mallet,  a  rasp,  and  a  couple  of  tiles  (a  half  round  and  a 
bastard),  will  make  up  the  list  of  necessary  tools.  You 
can  begin  with  only  one  chisel  of  each  kind.  As  you  pro¬ 
ceed  in  carving,  you  will  find  it  very  desirable  to  learn 
a  little  of  carpentry.  The  best  way  is  to  take  a  few 
practical  lessons  from  a  carpenter.  Tools  should  be 
kept  very  sharp.  In  every  place  some  one  can  be  found 
from  whom  you  can  learn  just  howto  sharpen  them.  The 
edges  having  been  ground  will  often  need  “  setting.” 
This  should  De  done  roughly  with  a  Turkey  oil  stone,  an 
Arkansas  stone  being  used  for  the  finishing  up.  Re¬ 
member  that  the  chisels  should  be  ground  on  both  sides. 
For  setting  the  inside  edge  of  the  gouges  and  parting 
tool,  small  pieces  of  oil  stone,  ground  down  to  the  size 
and  shape  of  the  tools,  and  fastened  into  pieces  of  wood 
are  used.  These  are  called  “  slips.” 

Betore  attempting  a  piece  of  real  carving,  become  used 


82 


NEEDLES  AND  BRUSHES 


to  your  tools.  Take  some  simple  design,  and  having 
drawn  it  or  transferred  it  on  the  wood,  go  over  the  edges 
with  the  tracing  wheel,  which  has  sharp  points  like  the 
rowel  of  a  spur.  If  you  have  no  wheel,  go  over  it  with 
a  sharp  bodkin,  or  a  piece  of  sharp  new  knitting  needle, 
set  into  a  wooden  handle,  pricking  out  the  outline  by 
this  means.  Now  take  your  parting  tool  and  cut  away 
a  light  groove,  keeping  just  outside  the  dotted  line 
already  pricked  out.  Work  slowly  and  lightly,  as,  if 
you  attempt  to  hurry,  the  result  will  probably  be  that 
you  will  dig  your  tool  in  too  deep,  and  tear  up  the  wood 
in  a  very  ragged  and  ugly  manner,  or  perhaps  you  may 
break  the  edge  of  your  tool.  Make  your  cuts  light  and 
short  at  lirst.  You  can  deepen  this  outline  groove  by 
going  over  it  repeatedly  with  the  same  tool. 

Instead  of  running  the  outline  groove  with  the  parting 
tool,  you  can  “stab  out”  the  same  line  with  a  tool  ex¬ 
actly  corresponding  to  the  outline  of  the  design.  Hold 
it  so  that  while  close  to  the  line  the  cut  will  slope  a  lit¬ 
tle  outwards,  and  with  a  slight  blow  with  a  mallet  or 
with  a  push  of  your  hand  cut  into  the  wood.  Repeat 
this  process  till  the  whole  design  is  outlined. 

The  next  step  is  to  cut  away  the  ground,  leaving  the 
design  in  relief.  With  a  flat  gouge  or  chisel  cut  this 
gradually  away,  beginning  a  little  way  from  the  outline 
and  cutting  towards  it,  and  afterwards  carefully  cutting 
away  the  centre.  Make  it  as  smooth  as  you  can,  finish¬ 
ing  it  up,  if  desired,  with  a  curved  file.  The  edges  of 
the  design  may  be  gently  rounded  off  with  a  rasp  and 
sand  paper.  Small  polishers,  to  be  used  in  getting  iuto 
corners,  etc.,  can  be  made  by  taking  sticks  of  wood, 
shaping  their  ends  to  suit  the  difficult  spots,  dipping 
them  into  glue  and  then  into  sand.  Blow  all  the  sand 
out  of  your  work,  and  indent  the  background  with  the 
stiletto,  or  punches  used  for  the  purpose.  The  more 
thoroughly  this  is  done,  the  better  the  design  will  look. 


AND  HOW  TO  USE  THEM. 


83 


Oil  thoroughly,  wipe  dry,  and  rub  long  and  patiently 
with  a  pine  stick. 

A  motto,  formed  of  Gothic  letters,  or  a  Gothic  border, 
forms  a  good  design  for  first  attempts.  Foliage  should 
be  kept  until  later. 

It  is  a  good  plan  to  practice  running  lines  with  gouges 
and  chisels  until  you  have  the  same  mastery  over  it  that 
you  would  have  over  a  pencil. 

In  this  way  you  will  become  able  to  carve  with  a  free 
touch,  giving  the  element  of  originality  which  adds  so 
much  to  the  value  of  the  work.  Practice  thoroughly  on 
simple  forms,  such  as  ivy  or  oak  leaves,  before  attempt¬ 
ing  more  involved  designs. 

Beginners  generally  use  black  walnut,  but  oak,  pear 
and  apple  woods  are  all  beautiful.  Lime  or  linden  wood 
can  be  cut  easily  and  then  stained  to  any  color.  Any 
wood  can  be  stained  a  dark  walnut  stain.  Take  a  com¬ 
mon  umbei’,  or  Vandyke  brown  powder,  mix  it  with  beer 
or  strong  coffee;  coat  your  wood  well  with  it;  rub  it  off 
when  dry  and  repeat  the  process.  If  you  wish  it  darker 
add  a  little  lamp  black  and  spirits.  Oak  may  be  darkened 
by  washing  it  with  strong  soda  water.  The  dyes  for 
wood  sold  in  paint  stores  are  also  as  a  rule  very  satis¬ 
factory.  A  good  ebonizing  process  is  as  follows:  Wash 
the  article  first  with  a  strong  decoction  of  logwood. 
Give  three  or  four  coats  of  this  wash,  letting  each  one 
get  thoroughly  dry.  Then  wash  it  with  vinegar  in 
which  steel  or  iron  filings  or  scraps  have  been  steeping 
for  some  days.  When  dry,  put  on  thin  shellac  with  a 
soft  cloth,  thus  giving  it  the  dull  polish  of  ebony. 

When  you  first  attempt  foliage,  get  if  possible  a 
carved  copy,  or  a  plaster  cast.  Modelling  the  leaf  in 
clay,  leather,  or  papier  mache  will  aid  materially  in 
learning  to  carve  it.  The  hollows  of  the  leaf  should  be 
very  carefully  cut  away,  or  rather,  to  use  Mr.  Leland’s 
words,  “shaved  away.” 


84 


NEEDLES  AND  BRUSHES 


Intaglio  carving,  in  which  the  design  is  sunk  into  the 
ground  instead  of  standing  out  in  relief,  is  an  easy  va¬ 


riety  of  carving  and  is  very  useful  in  forming  moulds  for 
papier  raaclie  and  leather  work. 

Carving  in  the  round  is  an  advance  on  carving  in  re- 


AND  HOW  TO  USE  TEEM. 


85 


lief,  which  can  be  reached  by  the  amateur  if  he  takes 
heed-to  his  ways  and  works  up  to  it  slowly. 

Study  good  carving  when  possible.  Eeal  work  will 
teach  more  than  any  amount  of  engraved  designs.  Figs. 
24  and  25  are  designs  which  may  be  used  as  borders 
or  for  frames,  etc.  The  illustrations  given  in  the  chapter 
on  Leather  Work  are  also  excellent  patterns  for  carving. 


86 


NEEDLES  AND  BRUSHES 


MODELLING  IN  CLAY. 


Modelling  in  clay  may  be  recommended  to  the  ama¬ 
teur,  anxious  to  try  bis  or  her  hand  at  art,  on  many  ac¬ 
counts.  The  materials  are  cheap  and  easily  procured. 
The  work  may  be  made  not  merely  decorative  but  useful, 
and  it  teaches  one  much  of  drawing.  Indeed,  this  fact 
is  recognized  now  in  many  of  the  primary  schools  in 
teaching  drawing.  The  children  are  first  taught  to  make 
the  forms,  such  as  cubes,  spheres,  etc.,  and  then  made  to 
draw  them.  And  the  remembrance  of  mud-pies  suggests 
another  advantage  in  clay  modelling  over  the  other 
minor  arts — the  taste  is  born  in  us.  Every  child  makes 
mud-pies;  all  children,  too,  delight  in  that  other  plastic 
material,  dough,  and  will  keep  quiet  and  amused  for  a 
long  time  if  allowed  to  mould  it  according  -to  fancy. 

For  beginning  this  fascinating  work  but  little  expend¬ 
iture  is  required.  Modelling  clay  can  be  procured  for 
from  three  to  five  cents  a  pound.  In  some  localities  it 
can  be  had  for  the  digging,  but  for  a  beginner  there  is  an 
advantage  in  getting  it  at  a  pottery,  because  it  is  then 
ready  for  manipulation.  It  should  be  kept  in  a  water¬ 
proof  box,  as  it  is  necessary  to  keep  it  damp  as  long'  as 
you  are  using  it.  If,  however,  the  clay  becomes  dry  and 
hard,  it  can  easily  be  moistened  and  kneaded  up  like 
dough  to  the  proper  consistency.  Sometimes  the  clay 
will  have  air  bubbles  in  it.  This  is  remedied  by  what  is 
called  wedging — that  is,  cutting  the  lump  in  two  with  a 
wire  and  then  striking  the  two  piles  hard  together,  and 


AND  HOW  TO  USE  THEM. 


87 


repeating  the  process  unlil  the  whole  mass  is  perfectly 
smooth . 

The  tools  for  modelling  can  he  procured  at  any  artists’ 
supplies  store,  or  if  once  seen  can  he  easily  whittled  out 
in  pine  wood. 

Many  fancy  that  foliage  is  one  of  the  easiest  things 
with  which  to  begin,  hut  the  author  of  “  Minor  Arts”  (an 
authority  on  all  such  subjects),  recommends  beginning 
with  an  animal.  Procure  a  plaster  cast  of  the  object  you 
are  about  to  model,  say  a  rabbit.  Form  a  lump  of  clay 
(working  on  a  smooth  board  or  a  slab  of  slate  or  marble) 
into  a  general  rude  resemblance  to  the  object.  It  is  well 
to  make  a  smooth  base  of  clay  on  which  the  figure  may 
stand.  Have  the  clay  from  which  you  model  your  figure 
a  very  little  wetter  than  the  base  as  the  drier  clay  will 
absorb  the  moisture  from  the  lump,  and  in  the  process 
the  figure  will  be  more  firmly  fixed  to  the  base. 

This  rule  should  be  always  remembered  in  building  up 
your  figures.  It  is  much  easier  for  the  beginner,  how¬ 
ever,  to  take  from  than  add  to  the  clay.  Therefore  in 
your  first  attempt,  be  sure  and  have  the  blocked  out 
form  sufficiently  large.  Ascertain  that  you  have  the 
main  points  correctly  by  means  of  a  large  pair  of  com¬ 
passes.  Don’t  be  discouraged  by  repeated  failures. 
“Rubbing  out”  is  much  easier  than  in  drawing,  for  it  is 
but  to  work  the  whole  into  a  lump  and  begin  again.  If 
you  find  that  the  clay  is  getting  too  dry,  sprinkle  water 
over  it  by  means  of  an  atomizer  or  a  brush  dipped  in 
water. 

When  the  figure  is  blocked  out  satisfactorily,  proceed 
by  means  of  tools  and  fingers  to  bring  out  the  details. 
Use  alternately  the  point  of  your  bone  tool  to  form  the 
eyes  and  indentations  of  the  ears.  For  the  larger  curves 
the  fingers  are  the  best  tools.  A  few  days  of  earnest, 
studious  work  will  enable  you  to  imitate  any  simple  ob¬ 
ject.  In  finishing  the  hair  the  bone  tool  may  be  used, 


88 


NEEDLES  AND  BRUSHES 


scraping  deeply  to  form  tbe  masses,  and  using  the  mere 
point  for  the  flue  lines. 

Copy  foliage  from  leaves  carved  in  wood,  or  from 
plaster  casts.  If  you  live  near  a  pottery  you  can  pro¬ 
cure  a  vase,  in  wliat  is  called  a  green  or  unbaked  state, 
and  ornament  it  with  some  leafy  design,  or  if  you  choose 
you  may  make  for  yourself  a  vase,  and  having  ornamented 
it  with  a  design  in  relief,  you  can  have  it  baked  at  a 
pottery.  Probably  your  first  vase  will  be  like  poor  Rob¬ 
inson  Crusoe’s  earliest  attempts  at  pottery— one-sided— 
or  your  clay  may  get  too  dry;  but  patience  and  persever¬ 
ance  will  enable  you  to  overcome  the  first  difficuly,  and 
you  can  moisten  your  clay  for  another  attempt.  Keep  your 
unfinished  work  in  ajar  or  covered  box,  and  if  there  seems 
to  be  danger  of  its  drying  too  quickly  cover  it  with  a 
wet  cloth.  A  pair  of  compasses  is  needful  in  getting 
circles  exact,  and,  in  fact,  will  often  be  useful  in  determin¬ 
ing  curves.  Kever  send  a  piece  of  work  to  be  baked 
(which  can  be  done  at  a  pottery)  until  satisfied  that  it  is 
thoroughly  dry,  as  any  moisture  must  inevitably  I'esult  in 
breaking  tho  model.  You  can,  if  you  prefer,  further 
ornament  your  vase  by  painting  before  baking  it  in  under¬ 
glaze  colors.  I  have  given  suggestions  for  the  first  steps 
in  this  art  only.  Handling  the  clay  will  show  you  what 
you  can  undertake.  Remember  that  in  this  as  in  all  real 
work, the  foundation  must  be  well  laid.  Copy  what  you 
endeavor  to  do  carefully.  Ho  not  attempt  to  refine  too 
much.  Clay  is  solid,  and  leaves,  flowers,  and  tendrils 
made  of  it  should  not  look  as  if  a  touch  would  destroy 
them.  It  may  sometimes  be  necessary  to  place  props 
under  certain  parts  of  your  work,  to  support  them  until 
the  clay  hardens.  This  is  especially  the  case  if  you  at¬ 
tempt  modelling  figures.  In  modelling,  have  your  whole 
design,  whether  in  the  round  or  in  relief,  accurately 
blocked  out,  so  as  to  mark  the  proportions  before  at¬ 
tempting  to  finish  any  of  the  details. 


AHD  HOW  TO  USE  THEM. 


89 


CASTING  IN  PLASTER. 


Modelling  and  taking  casts  are  kindred  employments, 
as  by  means  of  the  latter  process  a  panel  or  statuette  can 
be  repeated  indefinitely  with  comparatively  little  ex- 
penditure  of  time  or  labor.  The  process  is  purely  me¬ 
chanical,  and  can  be  mastered  by  any  one  who  is  willing 
to  devote  the  necessary  time  and  patience  to  it.  Oasts 
are  made  either  in  plaster  of  Paris  or  gelatine.  The  pro¬ 
cess  is  twofold,  tli e  first  step  being  to  make  a  mould  from 
which  the  cast  is  afterwards  taken. 

To  do  this  fill  a  pan  or  basin  half-full  of  water,  and 
pour  gradually  into  this  enough  plaster  to  absorb  the 
water.  Then  stir  with  a  spoon  for  a  minute  or  two  until 
you  have  it  about  the  consistency  of  thin  cream.  In  this 
state  it  is  called  “slip.”  This  “slip”  when  poured  over 
a  surface  to  the  depth  of  an  inch  or  two  will  adapt  itself 
to  every  inequality  of  surface  while  in  a  liquid  state,  but 
will  rapidly  harden.  If,  after  hardening,  it  is  removed, 
it  will  present  a  reversed  copy  of  the  surface  over  which 
it  has  been  poured. 

Plaster  of  Paris  plaques,  for  instance,  can  be  readily 
made  by  pouring  “slip”  into  a  plate  or  plaque  which  has 
been  thoroughly  oiled.  Liquid  gum  arabic  and  dissolved 
alum  added  to  the  “slip”  will  render  it  extremely  hard 
and  durable.  A  plaque  thus  made  can  be  painted. 

In  order  to  take  a  cast  of  a  bas-relief  in  clay  build  a 
Avail  of  clay  around  the  object  to  be  cast,  making  it  two 


90 


NEEDLES  AND  BRUSHES 


or  three  inches  high,  or,  if  preferred,  a  cardboard  box 
exactly  fitting  it  may  be  used.  Oil  your  model,  which 
must  be  thoroughly  dry,  with  boiled  linseed  oil,  using  a 
brush  to  put  it  on  with.  Wipe  off  any  superfluous  oil, 
and  pour  in  the  “slip”  to  the  required  thickness,  shak¬ 
ing  or  gently  striking  the  mould  to  make  sure  that  the 
plaster  settles  into  every  crevice.  In  about  ten  minutes 
the  cast,  though  still  damp,  will  be  firm.  Remove  the 
clay  wall  or  the  cardboard  box,  and  cut  away  the  edges 
until  you  can  see  the  line  of  separation  between  the 
plaster  and  the  clay.  Separate  them  carefully,  aiding 
the  process  with  a  dull  kitchen  knife.  It  will  take  about 
twenty-four  hours  for  the  plaster  to  become  thoroughly 
hard. 

The  next  cast  must  be  taken  in  the  same  way,  except 
that  the  plaster  cast  just  taken  is  to  be  used  as  a  mould. 
The  resulting  cast,  if  carefully  managed,  will  be  a  fac¬ 
simile  of  the  clay  mould.  When  the  “slip”  is  mixed 
with  gum  arabic  and  alum  solution,  as  directed  above, 
such  a  cast  is  durable  enough  to  be  used  as  a  panel  in  a 
bracket  or  cabinet. 

Fine  casts  of  wood  carving  or  solid  leather  work  can 
be  taken  in  this  way,  and  if  dyed  with  lamp  black,  um¬ 
ber,  and  beer,  will  be  very  good  imitations  of  oak. 

The  slip  can  be  tinted  with  any  desired  color  by  mix¬ 
ing  any  dissoluble  color  in  the  water  used  for  making 
the  slip.  In  bas-reliefs  a  fine  effect  may  be  obtained  by 
pouring  white  slip  into  the  sunken  portions  of  the  plaster 
mould,  and  then  filling  the  mould  with  slip  tinted  to  a 
delicate  shade  of  blue.  When  taken  from  the  mould  the 
design  should  appear  white  on  a  blue  ground. 

Casts  can  also  be  made  to  imitate  ivory  by  either  using 
milk  and  water  for  the  slip,  or  by  oiling  the  completed 
cast  with  oil  in  which  a  little  beeswax  has  been  dissolved. 
When  dry  rub  with  cotton  wool,  and  keep  in  a  smoky 
yoornibr  a  while. 


AMD  HOW  TO  USE  THEM. 


91 


Gelatine  moulding  is  done  in  the  same  way  as  mould¬ 
ing  in'plaster,  the  gelatine  being  dissolved  in  cold  water. 
If  to  the  water  is  added  a  very  small  proportion  of  tannic 
acid  (Mr.  Leland  says  a  “few  hundredths”),  the  cast  will 
he  almost  impervious  to  water.  Gelatine  is  a  much 
cleaner  material  to  handle  than  plaster,  and  rather  easier 
to  manage.  The  best  is  the  French,  and  can  be  obtained 
at  stores  that  supply  materials  for  carvers  and  gilders. 

The  directions  given  above  are  for  flat  objects,  but 
when  a  cast  from  the  “round”  is  to  be  taken  the  jn’ocess 
becomes  more  tedious  and  complicated.  An  egg  is  one 
of  the  simplest  “round”  objects  to  cast,  and  the  process 
of  moulding  one  of  these  will  iU  Astrate  the  process  to  be 
followed  generally. 

Have  a  pan ’or  dish  of  sand,  and  place  the  egg  iu  it  so 
that  one  half  will  be  above  the  sand.  Pour  the  slip  care¬ 
fully  over  this  until  it  is  covered  to  the  requisite  thick¬ 
ness.  Having  the  mould  of  one  half  of  the  egg,  replace 
the  egg  in  it,  oil  the  edges  of  the  mould,  having  dug  out 
little  holes  at  intervals  to  receive  corresponding  projec¬ 
tions  on  the  other  half  of  the  mould.  Cover  the  other 
half  of  the  egg  with  slip.  When  this  second  half  is  dry 
oil  the  inside  of  both  halves,  fasten  them  together  by 
means  of  the  holes  and  projections  spoken  of,  and  through 
a  small  hole  prepared  for  the  purpose  pour  in  slip, 
shaking  the  mould  gently  until  the  plaster  has  hardened. 

Some  objects  have  to  be  cast  in  moulds  of  three  or  more 
pieces.  Sometimes  these  are  separated  by  means  of  fine 
strings  passed  carefully  around  the  mould,  the  ends  com¬ 
ing  through.  Sometimes  a  dull  knife  is  used  for  this 
purpose,  and  sometimes  the  different  parts  of  the  mould 
are  obtained  by  successive  casts,  as  was  done  in  getting 
the  two  parts  of  the  egg. 

Fruits  can  be  very  successfully  imitated  by  using  wax 
for  making  the  casts  from  plaster  moulds  made  as  de- 


92 


NEEDLES  AND  BRUSHES 


scribed  above.  To  save  expense,  however,  most  fruits 
are  cast  hollow,  which  is  effected  as  follows: — 

Soak  the  two  pieces  of  the  mould  in  hot  water.  The 
wax  should  in  the  meantime  be  very  slowly  melted  in  a 
tin  saucepan  with  a  spout  to  it,  care  being  taken  not  to 
let  it  come  to  aboil,  or  it  will  be  discolored.  A  lump  the 
size  of  the  object  to  be  imitated,  should,  as  a  rule,  make 
two  casts. 

As  soon  as  the  wax  is  melted  thoroughly,  place  the 
saucepan  on  the  stove,  and  taking  the  parts  of  the  mould 
from  the  hot  water,  remove  the  moisture  from  their 
surfaces  by  pressing  them  gently  with  a  handkerchief 
or  soft  cloth.  Use  a  very  light  hand ,  merely  pressing  but 
not  wiping  the  mould.  Perform  this  drying  process 
quickly,  or  the  mould  will  be  too  cool,  congealing  the 
wax  too  rapidly,  and  causing  it  to  settle  into  ridges;  on 
the  other  hand,  the  wax  must  not  be  too  hot,  or  it  will 
adhere  to  the  mould,  and  will  not  come  out  entire. 

Having  laid  the  two  halves  of  the  mould  so  that  there 
can  be  no  mistake  in  fitting  the  one  to  its  exact  place  on 
the  other  quickly,  pour  from  the  saucepan  into  one  of 
the  half  moulds  nearly  as  much  wax  as  will  fill  the  hol¬ 
low  made  by  the  model,  quickly  fit  the  other  half  on  top 
of  it,  squeeze  the  two  pieces  tighly  together  in  the  hand, 
and  still  holding  them  thus/ turn  them  over  in  every 
possible  direction,  so  that  the  wax  which  is  slowly  con¬ 
gealing  in  the  internal  hollow  of  the  mould  may  be  of 
equal  thickness  in  all  parts.  Having  continued  this  pro¬ 
cess  at  least  two  minutes,  the  hands  (stll  holding  and 
turning  the  mould)  may  be  immersed  in  cold  water  to 
accelerate  the  cooling  process.  The  perfect  cougealment 
of  the  wax  may  be  known  after  a  little  experience  by  the 
absence  of  the  sound  of  fluid  in  shaking  the  mould. 

As  soon  as  the  mould  is  completely  cooled,  the  halves 
may  be  separated  carefully,  the  upper  being  lifted 
straight  up  from  the  under,  and  if  the  operation  has  been 


AND  HOW  TO  USE  THEM. 


93 


properly  managed,  a  waxen  fac-simile  of  the  model  (so 
far  as  shape  is  concerned),  will  be  turned  ont  of  the 
mould. 

This,  however,  will  require  trimming,  so  as  to  remove 
the  ridge  which  marks  the  juncture  of  the  two  halves 
of  the  mould,  and  any  scratches  or  inequalities  make  by 
the  knife  in  removing  the  mould  should  be  polished  out 
with  a  piece  of  soft  rag,  wet  with  spirits  of  turpentine 
or  wine. 

The  wax  may  be  tinted  by  stirring  into  it  while  still  on 
the  stove  a  little  of  the  required  color.  The  tube  colors 
used  by  artists  are  preferable.  When  required  of  a  very 
delicate  tint,  as  for  the  green  gooseberry,  the  color  may 
be  thinned  by  the  addition  of  a  little  Canada  balsam  and 
spirits  of  wine.  The  shading  and  varied  coloring  must 
be  added  after  the  fruit  is  cast. 

Some  of  the  smaller  fruits,  such  as  the  raspberry,  mul¬ 
berry,  etc.,  are  cast  solid.  In  this  case  a  hole  must  be 
made  through  the  mould  at  a  point  corresponding  to  that 
at  which  the  stalk  is  to  be  inserted.  Afterwards  the 
stalks  are  added  before  the  wax  is  poured  in. 

The  stalks  of  fruit  are  usually  made,  like  those  for 
wax  flowers,  of  wire  covered  with  silk,  except  in  fruits 
having  a  very  large  stem,  like  the  cucumber,  when  a 
roll  of  green  silk  or  cotton,  stiffened  by  a  wire  through 
the  centre,  should  be  laid  on  the  groove  of  the  mould. 
It  is  well  to  allow  the  cottou  or  silk  to  project  into  the 
body  of  the  fruit  at  least  half  an  inch,  so  that  when  the 
casting  is  complete,  the  stalk  will  be  firm  in  its  place 
and  will  bear  the  weight  of  the  fruit. 

Wax  flowers  are  made  from  sheet  wax  which  can  be 
bought  prepared  and  tinted  for  the  purpose.  For  the 
benefit  of  those  who  may  wish  to  try  prepariug  the 
sheets  themselves,  I  give  the  following  directions,  said 
to  be  reliable : — 

To  every  pound  of  wax  we  have  added  about  an  ounce 


94 


NEEDLES  AND  BRUSHES 


of  Canada  balsam,  or  spirits  of  turpentine,  or  of  a  so¬ 
lution  of  resin  in  spirits  of  turpentine.  I  think  the 
last  named  is  best  for  colored  wax,  but  the  first  or  second 
for  a  white  wax.  If  the  wax  is  frequently  melted,  it  will 
require  a  little  turpentine  added  to  it.  A  composition 
of  this  kind  having  been  melted  in  a  glue  pot,  or  in  any 
other  vessel  which  will  notallow  the  contents  to  be  over¬ 
heated,  should  be  poured  into  oblong  tin  moulds  about 
two  inches  deep,  two  inches  and  a  half  wide,  and  four 
inches  long.  These  can  be  made  by  any  tinman;  the 
edges  should  be  turned  down  at  the  top  and  strengthened 
with  wire  as  with  common  bread  tins.  This  tin  should 
not  be  filled  quite  full,  and  the  wax  should  be  allowed 
to  cool  slowly,  or  it  will  wrinkle  and  require  re-melting. 
Slow  melting  and  slow  cooling  are  essential  points. 
When  completely  cold,  the  wax  will  separate  from  the 
tin  by  its  own  contraction,  and  may  be  shaken  out  by 
tapping  on  the  bottom  of  the  mould.  You  have  now  a 
block  of  wax  which  it  is  required  to  make  into  thin 
sheets,  and  this  is  accomplished  in  the  following  manner: 
Obtain  a  carpenter's  spoke-shave,  which  is  flat,  and  the 
Wade  of  which  is  at  least  an  inch  broader  than  your 
block  of  wax.  In  order  to  prevent  the  block  of  wax 
from  slipping  wdiile  the  shaving  is  going  on,  the  follow¬ 
ing  plan  has  proved  successful.  Have  a  hard  piece  of 
wood  cut  in  the  shape  of  a  capital  T.  The  cross  piece 
should  be  the  width  of  the  block  of  wax,  and  the  leg- 
should  be  about  three  inches  long.  This  leg  must  be 
inserted  in  a  square  hole  in  the  table  on  which  you  in¬ 
tend  shaving.  A  plug  cau  be  made  to  fit  into  it  when 
the  hole  would  be  inconvenient.  When  shaving  the 
block  of  wax,  the  top  of  the  cross  piece  of  theT  should 
be  kept  as  near  the  upper  edge  of  the  wax  as  will  allow 
the  spoke  shave  to  pass  easily  over  it.  The  shave  must 
be  well  warmed  at  the  fire  or  by  dipping  it  into  hot 
water.  If  you  have  two  shaves  you  can  warm  one,  while 


AND  HOW  TO  VSE  THEM. 


95 


nsing  the  other.  The  cutting  stroke  should  be  made 
steadily  but  quickly.  The  thickness  of  the  sheet  must 
depend  on  the  adaptation  of  the  shave,  which  must  be 
learned  at  the  time  of  purchase.  The  first  three  or 
four  sheets  will  not  cut  equally,  but  the  wax  will  re¬ 
melt;  the  most  perfect  sheets  only  should  be  laid  aside 
for  use.  For  preserving  them  in  nice  condition,  lay  them 
between  sheets  of  paper  which  have  been  brushed  over 
with  boiled  linseed  oil,  and  which  have  been  allowed  to 
dry.  The  wax  may  be  tinted  as  directed  above  by  using 
the  following  colors  in  different  proportions:  chrome 
yellow,  Prussian  blue,  French  ultramarine,  carmine,  and 
flake  or  Chinese  white. 

Wax  flowers  are  or  should  be  modelled  after  real  ones 
rather  than  after  patterns  cut  iu  tin  or  cardboard,  and 
to  enable  one  to  do  it  well  several  of  the  flowers  to  be 
copied  should  be  kept  at  hand.  Pick  one  carefully  to 
pieces,  and  cut  petals,  calyx,  etc.,  carefully  out,  curling 
and  moulding  them  over  a  long  pin.  Pat  them  together 
as  far  as  possible  in  imitation  of  the  way  in  which  they 
grow.  The  stems  are  made  as  directed  for  fruit,  over 
flue  wire.  Very  fine  wire  may  sometimes  be  used  as  the 
foundation  for  stamens  and  pistils.  Begin  with  very 
simple  flowers,  and  copy  Nature  as  far  as  possible.  Au¬ 
tumn  leaves  are  one  of  the  easiest  things  to  imitate,  and 
are  good  practice  for  coloring.  As  said  before,  where 
practicable,  tinted  wax  is  used  to  give  the  local  color, 
but  this  must  be  shaded  and  variegated  after  the  petals, 
etc.,  are  cut  out.  Water  colors  in  powder  are  used  for 
this  purpose,  and  are  applied  in  the  following  manner  : 

Having  taken  a  very  minute  quantity  of  color  powder 
on  the  blade  of  a  penknife,  lay  it  upon  a  palette,  or  the 
under  side  of  a  plate,  and  press  it  with  the  blade  to  de¬ 
stroy  any  lumps.  With  the  penknife  also  add  a  very 
small  quantity  of  weak  gum-water,  and  work  the  mass  to 
the  consistency  of  cream.  The  colors  must  be  applied 


96 


NEEDLES  AND  BRUSHES 


with  pointed  tinting  brushes.  Each  color  requires  a  sep¬ 
arate  brush,  as  powder  color  will  not  mix  like  fluid  ones. 
The  brush  must  be  held  upright  at  right  angles  to  the 
wax,  and  the  color  applied  in  the  direction  of  the  grain¬ 
ing.  The  color  must  be  applied  at  once. 

f  he  flower  end  of  the  apple  and  many  other  fruits  can 
be  imitated  by  pushing  a  clove  into  the  eye  of  the  fruit. 
Highly  glossy  fruit  may  be  varnished  with  mastic.  The 
down  upon  peaches,  etc.,  may  be  imitated  best  with  the 
flock  used  by  paper-stainers.  The  fruit  having  been  var¬ 
nished  or  wet  with  spirits  of  turpentine,  should  be  rolled 
in  the  flock  or  bran,  the  latter  blown  on  it.  The  bloom 
upon  plums  and  grapes  is  imitated  by  dusting  them  with 
common  powder  blue. 

When  wax-flower  making  has  to  be  done  choose  a  warm 
situation  for  your  work.  If  the  hands  are  too  hot  and 
the  wax  is  thereby  rendered  too  flaccid,  wash  in  tepid 
water.  The  hands  are  oftener  too  cold  ;  in  which  case 
washing  in  hot  water  and  a  seat  near  the  fire  are  recom¬ 
mended.  Never  be  in  a  hurry,  or  you  will  spoil  your 
flower.  Be  careful  in  cutting  the  petals,  etc.,  correctly. 
After  having  dissected  and  imitated  a  flower  preserve 
patterns  and  sketches  of  its  different  parts,  so  that  when 
the  season  for  the  plant  has  passed  other  copies  of  it 
may  be  made.  Always  hold  the  flower  in  the  left  hand, 
and  apply  fresh  pieces  with  the  right.  Coarse  silk  dip¬ 
ped  in  wax  may  be  used  for  fine  stamens.  The  tips 
dipped  in  flour  and  then  coated  with  wax  will  imitate 
anthers  very  well. 


AND  HOW  TO  USE  THEM . 


97 


MODELLING  IN  GUTTA-PERCHA. 


Gutta-percha  modelling  is  generally  used  to  imitate 
Barbotine  pottery.  It  is  very  easy  to  do,  and  the  mate¬ 
rials  are  comparatively  inexpensive.  Where  possible 
buy  the  gutta-percha  in  sheets  about  one-fourth  of  an 
inch  in  thickness. 

Boiling  water  must  always  be  at  hand.  Modelling  tools 
are  useful  but  not  necessary  ;  as  large  pins,  such  as 
those  made  for  Macrame  work,  will  generally  answer  for 
any  moulding.  Oil  paints,  brushes,  and  a  bottle  of  amber 
enamel  are  also  needed,  and  a  pair  of  pliers  for  holding 
the  petals,  leaves,  etc.,  and  fastening  them  together  will 
be  found  useful.  If  you  cannot  get  gutta-percha  in 
sheets  dip  a  jnece  in  boiling  water  for  a  few  seconds  and 
roll  it  out  with  a  heavy  round  ruler,  taking  care  to  wet 
both  ruler  and  drawing  board  with  a  sponge  to  prevent 
sticking.  Cut  out  the  petals  and  leaves  roughly  with  a 
pair  of  scissors — the  exact  number  with  which  it  is  in¬ 
tended  to  form  a  group  ;  put  these  again  into  boiling 
water,  and  then  roll  out  to  the  desired  thickness.  Avoid 
getting  them  too  thin,  or,  when  painted,  instead  of  their 
having  the  appearance  of  china,  they  will  be  more  like 
tin.  Becut  them  to  the  shape  and  thickness  required, 
and  with  a  small  ivory  or  bone  paperknife  (also  wetted) 
draw  in  the  markings  lightly  and  gently,  so  as  not  to  cut 
the  material  (if  the  gutta-percha  is  too  hard,  put  it  again 
and  again  into  boiling  water);  mould  and  bevel  the 
petals  and  leaves  upon  the  fingers,  as  in  leather  work. 


98 


NEEDLES  AND  BRUSHES 


then  set  them  aside  to  harden  (this  occupies  a  few  min¬ 
utes);  roll  out  the  stalks,  getting  them  nicely  rounded, 
and  then  put  all  together  in  readiness  for  transfer  to  pot 
or  vase,  arranging  them  as  you  would  a  natural  group  of 
flowers. 

To  make  the  petals  adhere,  hold  them  for  a  moment 
to  the  flame  of  a  candle  or  match.  When  slightly  soft¬ 
ened  at  the  base,  lay  them  down  on  a  small  piece  of 
gutta-percha,  about  the  size  of  a  shilling,  and  overlap¬ 
ping,  or  not,  as  in  nature.  Press  them  together  with 
the  pliers  or  with  the  paper  knife,  heating  the  tool  by 
dipping  it  into  the  hot  water  for  a  few  minutes.  Some 
find  it  easier  to  mould  the  stems  over  tine  wire,  such  as 
is  used  for  tissue  paper  flowers,  but  a  skilful  worker  will 
dispense  with  this.  It  must  be  remembered  that  the 
flowers  should  all  appear  as  if  modelled  on  the  vase  or 
other  object  to  be  decorated.  A  good  liquid  glue  or 
cement  can  be  used  to  make  the  decorations  adhere  more 
firmly. 

Be  careful  to  put  in  stamens  boldly,  but  avoid  too  flue 
details,  as  that  tends  to  cut  up  the  work,  and  is  unneces¬ 
sary;  press  them  back  well  into  the  centre,  and  do  not 
omit  the  pistil.  Study  simplicity  in  the  arrangement  of 
groups,  and  carefully  copy  the  natural  growth  of  the 
flowers.  Beginners  generally  err  here,  if  they  have  not 
sufficiently  observed  and  studied  nature.  The  vases  or 
pots  may  be  in  terra-cotta,  earthenware  salt  jars,  or  the 
little  brown  jars  usually  used  for  culinary  purposes 
these  last  are  most  inexpensive,  and  answer  admirably. 
When  the  group  is  quite  hard  and  dry,  hold  the  flowers 
to  the  lighted  candle  separately,  and  quickly  apply  them 
to  the  vase,  taking  care  that  there  is  no  moisture  between 
them,  for  this  will  surely  prevent  their  adhering.  Leave 
the  work  to  stand  until  it  has  become  firmly  fixed  to  the 
vase,  and  then  begin  the  painting. 

First  lay  on  a  thin  coat  of  flake  white  (oils)  mixed  with 


AND  HOW  TO  USE  THEM. 


99 


pale  amber  enamel,  using  a  liog-liair  brush.  Cover  it  so 
as  to  loose  the  color  of  the  gutta-percha,  and  paint  aj 
smoothly  as  possible  in  one  direction,  from  base  to  edgs 
of  petals.  While  that  is  drying  begin  the  background, 
holding  the  vase  upon  the  hand,  and,  having  fully 
charged  the  brush  with  color  (say  black),  mixed  with 
enamel,  begin  from  the  top;  about  midway  use  a  little 
yellow  (middle  chrome),  and  blend  it  in  with  white  to¬ 
wards  the  bottom.  Wipe  the  brush  after  every  color 
and  keep  the  colors  separate  upon  the  palette,  as  in  real 
china  painting.  Mixing  them  gives  a  dull  effect.  Pay 
particular  attention  to  keeping  them  pure.  The  brush 
must  be  fully  charged  with  color,  so  as  to  blend  the  tints, 
and  to  prevent  hard  lines;  but  the  paint  must  not  run 
down,  or  it  will  dry  in  ridges  and  cause  unpleasant 
breaks  on  the  surface.  Continual  practice  will  alone 
prevent  this. 

For  second  and  third  painting  of  flowers  a  short  sable 
brush  is  necessary.  Blend  on  the  colors  smoothly  and 
separately,  mixing  enamel  with  all  of  them.  For  instance, 
if  poppies  are  chosen,  use  vermilion,  dark  chrome,  flake 
white,  and  a  small  touch  of  crimson  lake.  These  colors 
are  opaque  (with  one  exception),  and  therefore  require 
careful  treatment;  if  they  do  not  vary  sufficiently,  the 
flowers  lose  their  freshness  and  get  tin-like  in  appear¬ 
ance.  No  shadow  color  is  required.  By  introducing  a 
certain  proportion  of  white,  sufficient  light  and  shade  is 
obtained,  and  the  enamel  adds  to  its  transparency  and 
brightness. 

We  will  here  mention  that  single  flowers  are  prefer¬ 
able  for  this  work — sunflowers,  poppies,  wild  roses,  con¬ 
volvuli,  garden  anemones,  and  single  dahlias  are  most 
successful.  Double  flowers  are  difficult  to  manipulate, 
and  are  not  artistic.  In  painting'stems  and  leaves,  apply 
the  color  as  before  described,  avoiding  too  vivid  greens; 
use  plenty  of  white  with  these,  and  keep  them  in  bar- 


loo 


NEEDLES  AND  BRUSHES 


mony  with  the  flowers.  Always  let  the  latter  he  promi¬ 
nent,  they  being  the  most  interesting  feature  in  the  com¬ 
position.  A  little  burnt  sienna  on  a  faded  leaf  improves 
it;  mix  with  a  little  white  to  soften  the  edges.  Knots 
of  ribbons  can  be  easily  introduced  on  plaques,  and  look 
well  in  binding  together,  and  finishing  off  a  group. 
Butterflies  also  are  useful  for  filling  up  open  spaces. 
Dog-roses  are  delicate,  and  very  easy.  Use  vermilion 
and  white,  a  little  chrome,  and  a  tiny  streak  of  crimson 
lake  occasionally.  In  sunflowers,  middle  chrome,  flake 
white,  and  burnt  sienna  form  the  principal  colors. 

The  work  is  most  inexpensive,  for,  as  mentioned  be¬ 
fore,  two  or  three  ounces  of  the  material  will  form  a 
group,  and  the  above-named  colors  are  all  that  are 
necessary.  Common  pots  or  jars  are  recommended,  and 
plaques  in  terra-cotta  are  especially  successful ;  the  back¬ 
grounds  on  them  are  carried  out  in  the  same  way  as  on 
the  jars,  beginning  with  white,  and  shading  the  colors 
towards  the  bottom;  be  mindful  that  this  is  done  after 
the  group  is  attached  to  the  plaque,  and  the  first  wash  of 
color  has  been  laid  on. 

As  in  all  painting,  some  knowledge  of  drawing  is  nec¬ 
essary,  and  those  who  have  studied  nature  carefully, 
cannot  fail  to  succeed.  The  object  we  have  in  view  is  to 
make  our  work  resemble  china  as  much  as  possible,  at 
the  same  time  to  give  the  groupings  all  the  fresh  look  of 
nature.  This  is  obtained  by  careful  modelling,  and  also 
by  laying  on  the  color  in  thin  washes,  allowing  every 
wash  to  become  perfectly  dry  before  attempting  finish. 
Many  unhappy  bits  of  work  are  produced  by  neglect  of 
this  rule,  aud  beginners  often  fail  at  the  outset  by 
hurrying  on,  their  only  object  being  to  obtain  an  effect; 
this  is  fatal  to  progress  or  success. 

Particular  attention  to  the  above  simple  rules  will  pro¬ 
duce  work  almost  equal  to  the  original  barbotine  china, 
and  if  persevered  in  will  ensure  success.  Neat  fingers 


AND  HOW  TO  USE  THEM. 


10  i 

and  a  certain  amount  of  practical  knowledge  are  needed, 
and  we  would  advise  everyone  in  taking  it  up  to  study 
and  copy  directly  from  nature,  thereby  producing  good 
work,  which  will  not  be  merely  imitative,  but  artistic. 

Fig.  26  shows  a  receptacle  for  flowers  in  the  shape  of 
a  log  made  of  pottery  and  ornamented  with  pansies  mod¬ 
elled  in  gutta  percha.  The  separate  parts  of  the  flowers 


Fig.  26. 


and  a  leaf  are  shown  in  Fig.  27.  Cut  out  for  each  pansy 
two  back  petals  (at  the  upper  right  hand  corner  in  Fig. 
27),  two  side  ones  (the  middle  one  in  the  cut),  and  one 
like  that  in  the  lower  right  hand  corner. 

Make  the  edges  irregular  and  somewhat  crinkled  as  in 
nature.  Take  great  pains  to  curve  and  model  each 
petal  correctly.  Press  the  lower  petal  with  a  large  pin 
or  the  bone  paper  knife  on  the  right  side  at  the  base,  so 
as  to  hollow  it  slightly.  In  modelling  the  petals,  it  will 
often  be  found  better  to  heat  the  tool  you  use,  than  the 
petal  itself,  as  there  will  not  be  so  much  danger  of  pull¬ 
ing  it  out  of  shape.  Some  prefer  to  tint  the  separate 
parts  of  the  flower  before  making  up.  If  you  do  so,  you 


162 


NEEDLES  AND  BRUSHES 


must  be  careful  to  leave  all  parts  that  are  to  be  joined 
together  unpainted,  as  they  would  not  adhere  otherwise. 
Model  the  pistil  carefully  from  a  narrow  strip  of  gutta 
percha,  copying- the  cut.  Press  the  base  of  the  lower 
petal  under  the  pistil,  so  that  the  point  of  the  latter 
rests  on  the  hollow  base  of  the  petal,  pinching  them 
carefully  together  with  pliers  heated  in  the  boiling- 
water.  When  this  is  linn,  press  on  the  side  petals,  and 
finally  the  back  ones.  Model  the  two  parts  of  the  calyx 
(seen  in  the  upper  left  hand  corner  of  Fig.  27)  making 


Fig.  27. 


three  of  the  larger  pieces  and  two  of  the  others.  Press 
the  three  larger  at  the  back  of  the  flower,  turning  the 
lower  part  of  each  back,  and  curving  each  towards  the 
point  resting  against  the  two  back  petals  of  the  pansy; 
then  beneath  the  front  petals  fix  the  two  smaller  portions 
of  the  calyx.  Examine  a  real  pansy,  pulling  it  to  pieces 
to  get  at  the  separate  parts,  if  you  find  difficulty  in  fol¬ 
lowing  these  directions.  Make  the  leaves  of  different 
sizes,  moulding  and  veining  them  carefully.  The  log 
can  be  painted  to  suit  your  taste  or  can  be  merely  pakited 
a  smooth,  even  white,  when  it  will  resemble  china. 


AND  HOW  TO  USE  THEM. 


108 


CHINA  PAINTING. 


I:;  china  painting,  as  in  every  other  art,  success  can 
be  reached  only  by  diligent,  intelligent  practice.  No 
amount  of  mere  verbal  directions  can  ever  enable  you  to 
attain  the  desirable  medium  in  your  work,  between  too 
thick  and  too  thin,  too  dry  and  too  wet.  The  manual 
dexterity,  and  the  artistic  judgment,  without  which  suc¬ 
cess  is  impossible,  are  to  be  secured  by  diligent  pains¬ 
taking  practice,  and  by  that  alone.  But  if  you  have  an 
average  amount  of  taste,  a  steady  hand,  and  a  determina¬ 
tion  to  merit  success  by  perseverance,  there  is  no  reason 
why  you  should  not,  in  a  time  which  will  seem  surpris¬ 
ingly  short  after  it  has  passed,  produce  work  quite  good 
enough  to  be  used  for  home  decoration,  or  to  secure  a 
purchaser  if  you  desire  to  sell  it. 

The  expense  of  an  outfit  is  a  very  variable  quantity ; 
but,  assuming  that  you  wish  to  avoid  all  unnecessary  ex¬ 
pense,  I  give  below  a  list  of  the  tools  necessary  for  the 
simpler  styles  of  work,  with  the  prices  at  which  they  can 
generally  be  obtained  in  New  York. 

Two  good  camel’s  hair  brushes.  Nos.  4 


and  6,  at  10c . $0.20 

Two  small  stipplers  or  blenders,  at  15c  .30 

A  fine  brush  for  tracing . . . 10 

A  horn  palette  knife . 15 

A  piece  of  India  ink . 15 

One  brush  about  \  inch  wide . 10 


Total 


$0.90 


104 


NEEDLES  AND  BRUSHES 


In  addition  to  the  above,  you  will  need  a  mall  quantity 
of  spirits  of  turpentine;  about  ten  cents’  worth  of  oil  of 
lavender,  which  can  be  bought  at  any  drug  store;  a  com¬ 
mon  plate,  to  be  used  as  a  palette;  a  few  soft  rags;  a 
little  cotton;  a  few  sheets  of  tracing  paper;  a  sheet  or 
two  of  transfer  paper;  and  a  hand  rest,  consisting  of  a 
strip  of  wood,  a  foot  or  eighteen  inches  long,  by  two 
inches  wide,  with  bits  of  wood  of  the  same  width  and 
about  au  inch  in  length,  firmly  nailed  to  each  end. 

Having  provided  the  tools  for  your  china  painting,  the 
next  requisite  is  an  assortment  of  colors.  For  amateurs’ 
use,  the  most  convenient  are  the  Lacroix  tube  colors, 
which  can  be  obtained  from  any  dealer  in  artists’  mate¬ 
rials.  The  following  list  embraces  all  that  is  necessary 
for  a  beginner’s  use  : 


Dark  blue,  costing  per  tube,  about. . .  .80.20 

Deep  ultra  marine  blue . 30 

Light  sky  bine . ( . 25 

Blue  green . 25 

Yellow  ochre  . 20 

Ivory  Yellow . 20 

Yellow  for  mixing . 18 

Apple  green . . 20 

Deep  chrome  green . 20 

Brown  sepia . 20 

Yellow  brown . 20 

Brown  Ho.  3 . 20 

Deep  red  brown . 20 

Capucine  red . 20 

Violet  of  iron . 20 

Neutral  gray . 20 

Flux . 20 

Carmine  Ho.  3 .  .  •  -25 

Ivory  black . 20 

Light  carmine  Ho.  1 . . . 20 


AND  HOW  TO  USE  THEM. 


105 


The  colors  printed  in  italics,  though  desirable,  are  not 
absolutely  necessary,  and  may  be  dispensed  with  if  econ¬ 
omy  requires. 

A  set  of  colors,  specially  prepared  for  grounds,  is  also 
necessary.  These  must  on  no  account  be  mixed  with  the 
other  colors.  A  good  selection  is: 

Celadon  (a  peculiar  greenish  tint),  costing 


per  tube,  about . $0.20 

Copper  Water  Green . 20 

Maize  . 18 

Turquoise  blue  ......  . 30 

Chinese  yellow . 18 


The  colors  in  china  painting  cannot  be  mixed  with  the 
same  freedom  as  in  water-colors,  for  they  are  sometimes 
very  much  changed  in  the  firing.  Some  yellows,  for  in¬ 
stance,  will  cause  colors  mixed  Avith.  them  to  disappear. 
The  rules  for  their  use  are  principally  based  on  the  pro¬ 
portion  of  iron  employed  in  their  manufacture,  and  the 
colors  have  been  divided  into  three  classes — those  con¬ 
taining  no  iron,  those  with  but  little  iron,  and  those  into 
whose  composition  iron  enters  largely. 

The  first  class  is  composed  of  white,  the  blues,  the 
carmines,  the  purples,  and  the  violets,  excepting  the 
violet  of  iron,  which  is  really  a  red.  In  this  class  the 
blues  can  be  used  with  mixing  yellow,  the  purples,  and 
carmines.  A  little  blue  can  also  be  used  with  green, 
when,  as  is  often  the  case,  a  bluish  green  is  needed. 
Many  shades  of  violet  and  purple  can  be  made  by  the 
use  of  blue  and  carmine.  Next  come  the  colors  with 
but  little  iron,  the  yellows  and  the  greens.  These  do  not 
mix  well  with  the  iron  colors,  the  yellows  especially  being 
apt  to  cause  red  to  disappear.  Ivory  yellow,  however, 
mixes  well  with  the  flesh  red,  and  is  very  useful  for  flesh 
tints.  While  yellow,  as  a  rule,  should  not  be  mixed  with 
the  reds,  the  most  brilliant  red  we  can  get  on  china  is 


106 


NEEDLES  AND  B  HUSHES 


obtained  by  painting  with  mixing  yellow  or  orange  yel¬ 
low,  and  after  firing,  painting  the  yellow  over  witli  capu- 
ciue  red.  Another  brilliant  red  is  obtained  by  mixing 
capueiue  red  with  carmine,  No.  2  preferably,  but  No.  3 
or  dark  carmine  will  answer. 

The  iron  colors  are  reds,  flesh  reds,  red  browns,  iron 
violets,  browns,  brown  yellows,  ochres,  blacks,  and  most 
of  the  grays.  I  would  advise  those  who  can  afford  it  to 
test  their  colors  on  bits  of  china,  making  two  of  each 
color,  and  sending  one  to  be  fired.  You  can  then  compare 
the  fired  color  with  the  unfired,  and  be  more  sure  of  the 
result. 

Having  now  the  materials  with  which  to  work,  the 
next  thing  is  how  to  use  them.  A  tile  or  plate  is  the  best 
thing  on  which  to  begin,  as  a  flat  surface  is  the  easiest 
thing  to  manage.  It  is  by  no  means  necessary  to  buy  fine 
,  china.  Common  earthen  ware  plates  are  just  as  good  to 
learn  on,  and  much  less  expensive. 

Have  on  the  table,  in  addition  to  your  brushes,  paints, 
etc.,  two  saucers  or  small  cups  with  turpentine  in  each. 
Pour  a  few  drops  of  the  turpentine  on  to  your  plate,  and 
with  a  rag  rub  it  perfectly  clean.  You  can  now  draw  the 
design  with  a  tolerably  hard  lead  pencil,  or  you  can  trans¬ 
fer  it  by  means  of  tracing  and  transfer  paper,  as  directed 
for  transferring  embroidery  designs  (p.  ).  To  guard 

against  any  slippingof  the  traced  design,  fasten  it  where 
necessary  to  the  plate  with  mucilage  or  bits  of  wax,  but 
leaving  the  edges  sufficiently  free  to  admit  of  slipping 
the  transfer  paper  underneath.  It  is  best  to  make  your 
first  attempt  in  monochrome,  that  is,  in  a  single  color, 
shaded  with  itself.  A  spray  of  woodbine  or  Virginia 
creeper  is  an  excellent  design  to  begin  with.  Having 
transferred  the  design,  you  can  render  your  pattern  quite 
safe  by  going  over  it  with  a  fine  tracer  in  India  ink  or  a 
little  water-color  carmine.  This  is  not  necessary,  but  it 
may  save  you  trouble  if  you  should  make  mistakes  in 


AND  HOW  TO  USE  THEM. 


107 


your  painting.  If  you  douse  tlie  India  ink  or  carmine, 
wipe  your  plate  off  with  a  little  turpentine,  and  the  red 
marks  will  disappear,  leaving  the  outline  in  water  color. 
Now  take  your  tube  of  deep  red  brown,  and  having  un¬ 
screwed  the  top,  take  hold  of  the  very  bottom  of  the 
tube  and  squeeze  very  little  out  on  your  palette.  Pour 
a  few  drops  of  turpentine  or  oil  of  lavender  (I  generally 
prefer  the  latter)  on  the  paint,  and  rub  it  smooth  with 
the  palette  knife.  Take  the  largest  of  your  two  camel’s 
hair  brushes,  dip  it  in  the  turpentine,  so  as  to  moisten  it 
thoroughly.  Then,  having  wiped  the  extra  moisture  out 
on  your  rag,  dip  it  in  the  paint.  It  is  well  to  have  an 
extra  piece  of  china  on  hand  to  try  your  brush  on.  If 
the  paint  works  smoothly,  leaving  a  clear  mark,  it  is 
mixed  just  right.  If  it  leaves  a  drop  or  blot  at  the  end, 
there  is  too  much  turpentine  in  it.  Wait  a  few  minutes 
for  it  to  dry.  If  it  sticks  and  refuses  to  run,  add  a  few 
more  drops  of  turpentine  or  oil. 

Ha  ving  your  color  properly  mixed,  paint  the  leaves 
with  a  smooth  firm  stroke,  painting  from  the  middle  of 
the  leaf  toward  the  edges,  and  making  the  brush  follow 
the  general  contour  of  the  leaves.  Thus  in  the  wood¬ 
bine  the  brush  marks  should  all  diverge  from  the  point 
where  the  stem  joins  the  leaf.  In  a  violet  leaf,  on  the 
contrary,  the  brush  should  be  carried  round  in  a  sweep¬ 
ing  curve  from  the  stalk  to  the  point  of  the  leaf. 

The  stems  of  the  woodbine  can  be  painted  in  dark 
brown,  or  in  asphalt,  a  very  useful  color  to  be  procured 
at  Ulrich’s  Artists’  Materials  Store  in  New  York.  If  the 
design  includes  berries,  paint  the  little  stems  joining 
them  to  the  main  stalk  with  capucine  red.  The  berries 
should  be  put  in  with  ivory  black  just  tinged  with  dark 
blue.  Preserve  the  circular  form  of  the  berry,  and  leave 
a  tiny  half  moon  shaped  spot  of  white  china  for  the  high 
light.  If  at  first  you  cannot  have  this  spot,  it  can  be 
scraped  out  with  a  pen  knife  or  coarse  needle.  When 


108 


NEEDLES  AND  BRUSHES 


this  first  painting  is  thoroughly  dry  you  can  put  in  the 
shading  with  the  same  colors.  The  shading  can  often  be 
very  much  improved  by  wiping  the  color  out  of  your 
brush  with  a  dry  rag,  and  while  your  painting  is  still 
moist,  toning  it  down  with  the  cleaned  brush.  This  will 
remedy  the  abrupt  transition  from  dark  to  light  but  must 
be  carefully  done,  for  if  any  turpentine  be  left  in  the 
brush,  the  work  will  be  ruined.  It  is  quite  customary  to 
outline  the  designs  on  china  in  some  darker  color,  the 
outline  serving  to  throw  up  the  design  and  also  to  em¬ 
phasize  its  decorative  character. 

In  Fig.  28,  is  given  a  design,  intended  for  a  tile,  but 


Fig.  28. 

answering  for  a  flat  vase,  a  pitcher  or  any  similar  object. 
The  local  tints  should  first  be  put  in,  using  chrome  green 
and  a  very  little  mixing  yellow  for  the  crocus  leaves, 


AND  HOW  TO  USE  THEM. 


109 


and  the  same  green  with  a  larger  proportion  of  mixing 
yellow  for  the  snow  drop  leaves.  Be  careful  not  to  leave 
a  blotch  where  the  leaves  are  crossed  by  flowers  or  other 
leaves.  If  your  painting  does  not  look  satisfactory,  do 
not  attempt  to  remedy  it,  except  by  wiping  it  out  and 
doing  the  work  over  again.  Work  that  has  been  touched 
up  or  doctored  while  wet  is  never  satisfactory,  and  it 
must  always  be  borne  in  mind  that  the  furnace  or  kiln  is 
a  wonderful  revealer  of  defects,  when  unfortunately  it  is 
too  late  to  remedy  them.  So  do  not  be  afraid  to  wipe  out 
your  work  over  and  over  again  while  it  is  in  your  power 
to  do  so. 

For  the  crocuses,  mix  some  carmine  and  blue  to  form 
the  purple  tint,  using  the  blue  sparingly  as  it  is  an  in¬ 
tense  color,  and  becomes  stronger  in  the  firing.  Paint 
the  crocuses  as  delicately  as  possible.  The  color  should 
be  as  thin  as  will  work  well.  Begin  at  the  top  of  the 
petals  and  make  your  strokes  follow  the  general  direc¬ 
tion  of  the  outline  and  the  shading.  Leave  the  lower 
part  of  the  tube  of  the  crocus  unpainted.  For  the  he- 
paticas  use  a  very  thin  wash  of  the  same  color  as  the 
crocuses  and  leaving  the  places  for  the  calyx  unpainted. 
The  white  of  the  china  gives  the  local  color  for  the  snow 
drops,  but  for  the  parts  which  are  shaded  in  the  design, 
mix  pearl  gray  with  a  very  little  of  the  light  green  used 
for  the  leaves,  and  paint  the  shaded  parts  with  delicate 
touches,  making  your  stroke  follow  the  direction  of  the 
copy.  The  upper  part  of  the  hepatica  leaf,  and  t’he 
stems  and  calices  are  painted  in  deep  chrome  green, 
modified  with  gray,  No.  1.  For  the  lower  part  use  deep 
red  brown,  modified  with  gray,  No.  1. 

When  this  first  painting  is  dry  you  can  begin  the 
shading.  Shade  the  crocus  leaves  with  deep  chrome 
green,  modified  with  a  very  little  black,  being  careful  to 
leave  a  light  line  down  the  centre.  Shade  the  snow  drop 
leaves  with  pearl  gray,  light  green,  and  a  little  touch  of 


110 


NEEDLES  AND  BRUSHES 


carmine.  Be  careful  to  make  the  stems  of  the  snow 
drop  distinct.  To  do  this,  it  may  be  necessary  to  give 
them  a  third  painting.  The  deep  color  of  the  crocus 
can  be  worked  down  to  the  light  color  of  the  tube  with  a 
dry  brush  as  described  above. 

Shade  leaf,  etc.,  of  the  liepaticas  with  the  respective 
colors  in  which  they  are  painted.  Shade  lower  part  of 
the  butterfly’s  wings  with  just  a  touch  of  black,  blending 
it  into  the  yellow  as  described  above.  It  will  be  well  to 
practice  the  veinings  on  the  wings  and  the  fine  markings 
round  the  edges  on  a  separate  piece  of  china.  A  tracer 
is  the  best  brush  to  use  for  these,  and  it  is  w7ise  to  always 
try  the  point  after  filling  the  brush  with  paint.  Make 
the  pistil  of  the  hepatica  of  light  green,  shading  it  round 
the  edge  with  gray.  The  stamens  are  mere  dots  of  mix¬ 
ing  yellow7.  Avoid  a  regular  appearance  in  putting  them 
on.  Scratch  awray  places  for  the  stamens  of  the  crocus 
and  put  them  in  with  a  mixture  of  orange  yellow  and 
capucine  red. 

If  you  have  carefully  followed  the  directions  thus  far 
given  you  will  have  learned  more  of  the  difficulties  in 
your  way  and  how  to  overcome  them,  than  a  long  list  of 
general  rules  and  directions.  Tlie  immortal  Squeer’s 
principle  of  teaching— “He  goes  and  does  it” — applies 
most  forcibly  in  china  painting.  Hever  be  afraid  to 
wipe  out  your  work. 

A  few  hints  on  the  use  of  colors  may  prove  useful. 
Shade  capucine  red  with  red  brown  or  a  little  black, 
yellow  with  brown  green,  pink  flowers  with  a  mixture  of 
carmine  and  apple  green.  Bine  may  be  shaded  with 
black  or  black  gray.  Some  blue  flowers,  such  as  the 
peri  winkle  or  myrtle,  may  require  the  addition  of  a  little- 
carmine.  Dark  purple  flowers  can  be  painted  with  deep 
purple  and  deep  blue,  adding  more  or  less  of  the  blue  as 
the  color  desired  is  more  purple  or  crimson.  They  should 
be  shaded  with  the  same  color.  When  a  different  color 


and  now  to  Use  them. 


ill 


is  used  for  lie  shading,  a  little  of  tlie  local  tint  should 
be  added. 

It  is  very  difficult  to  obtain  a  really  brilliant  red,  and 
consequently  red  flowers  should  be  surrounded  as  much 
as  possible  with  green.  Sometimes  a  very  good  effect  is 
obtained  by  painting  the  flowers  which  are  to  be  red  first 
with  yellow,  and  after  firing,  painting  with  capucine  red. 
A  touch  of  carmine  gives  the  pink  tinge  often  found  in 
the  stalk  of  a  rose.  Carmine  and  capucine  red  make  a 
pretty  under  tint  for  red  flowers  when  the  under  side  of 
the  petal  is  exposed.  A  very  light  touch  of  black  is 
often  useful  in  shading  both  green  and  blue.  Violet  of 
iron  or  red  brown  is  very  effective  at  the  edges  of  rose 
leaves.  Practice  and  a  little  study  of  good  painted 
china,  where  practicable,  will  soon  teach  other  combina¬ 
tions. 

A  very  important  part  of  china  painting  is  learning  to 
lay  on  a  flat  tint  or  ground.  Like  many  another  thing  it 
is  quite  easy  when  you  have  done  it,  but  oftentimes  it 
takes  many  attempts  before  a  beginner  gets  a  smooth 
tint.  One  might  travesty  Shakespeare  in  giving  direc¬ 
tions  for  this  process  to  an  amateur  and  say  “  if  you  have 
patience,  prepare  to  use  it  now,”  and  speaking  from  ex¬ 
perience,  I  would  add,  “  if  you  have  no  patience,  don’t 
try  to  lay  a  ground.  ” 

Some  of  the  grounding  colors  are  much  easier  to  lay 
on  than  others.  Pinks,  and  blues,  for  instance,  are  very 
difficult  to  lay  on  smoothly,  while  Chinese  yellow  and 
maize  are  easy  to  manage. 

When  your  design  has  been  painted  and  fired,  mix  the 
color  you  intend  for  the  grounding.  Using  with  oil  of 
lavender — you  can  use  turpentine,  but  the  lavender  is 
much  easier  to  work  with,  as  it  does  not  dry  so  quickly 
— adding  one  third  as  much  flux  (this  is  not  absolutely 
necessai’y)  as  you  have  paint.  Mix  your  color  a  little 
thinner  than  for  painting.  Have  ready  a  small  ball  of 


112 


NEEDLES  AND  BRUSHES 


a  piece  of  clean  rag,  or  bit  of  chamois  leather,  so  as  to 
present  a  smooth  surface  about  the  size  of  a  silver  dollar 
or  a  little  larger.  The  part  where  it  is  tied  will  form  a 
convenient  handle.  Use  the  wide  brush  mentioned  in 
the  list  of  materials,  and  paint  over  the  surface  to  be 
grounded,  keepiug  your  strokes  as  even  as  possible,  and 
working  quickly.  The  grounding  tint  will  necessarily 
cover  the  design  also.  As  a  general  thing,  by  the  time 
the  paint  is  all  on,  the  part  done  first  is  sufficiently  dry 
to  blend  properly.  Nothing  but  experience  will  teach 
you  just  how  dry  it  should  be.  Holding  your  dabber  in 
the  right  hand,  begin  where  you  began  to  paint,  and 
dabble  the  surface  with  it,  striking  it  perpendicularly 
with  quick  but  very  gentle  strokes.  Go  in  this  manner 
over  the  entire  surface,  repeating  the  process  until  the 
tint  is  perfectly  even.  If  the  paint  is  a  little  thicker  in 
some  places  than  in  others,  you  will  find  that  a  little 
practice  will  enable  you,  by  an  intelligent  use  of  the 
dabber,  to  spread  an  even  tint  over  the  whole  surface. 
When  you  have  done,  there  should  be  an  even  coat  of 
color,  without  the  slightest  sign  of  a  brush-mark.  If, 
when  the  paint  is  dry,  the  tint  is  not  even,  wipe  it  all  off 
and  try  again.  Don’t  be  discouraged  at  repeated  failures. 
Never  try  to  remedy  a  defect.  The  only  way  is  to  take 
the  whole  coat  of  paint  off.  Never  work  where  it  is  dusty. 
If  hairs  fall  from  the  brush  take  them  carefully  off  with 
the  point  of  a  needle,  as  otherwise  they  will  leave  a  mark 
when  the  firing  is  done. 

When  you  are  satisfied  with  the  ground,  put  your  tile 
away  where  it  can  dry  without  danger  of  becoming  dusty. 
When  thoroughly  dry,  clear  the  design  of  paint  with  a 
knife,  or  if  your  hand  is  steadjT,  with  a  brush  dipped  in 
turpentine,  and  wiped  almost  dry.  Keep  the  brush  clear 
of  color  with  turpentine.  This  latter  mode,  though  more 
expeditious,  is  rather  dangerous,  as  a  drop  of  turpentine 
falling  on  your  ground  would  entirely  spoil  it.  Then 


AND  HOW  TO  USE  THEM. 


113 


paint  over  the  design  as  in  the  first  place.  The  colors 
lose  a  little  in  each  firing,  so  that  they  need  to  he 
strengthened  before  sending  a  second  time  to  the  furnace. 
This  way  of  laying  a  ground  is  the  best  for  a  beginner, 
but  if  you  are  sure  of  your  hand,  it  is  a  little  more  satis¬ 
factory  and  expeditious  to  reverse  the  order  of  proceed¬ 
ings,  that  is,  after  outlining  your  design,  put  on  your 
ground  first,  then  clear  the  sketch  from  paint,  when  the 
latter  is  thoroughly  dry,  paint  your  design,  and  have  all 
fired  at  once. 

A  tile  is  the  best  thing  to  begin  grounding  on,  but  you 
will  soon  have  no  difficulty  in  tinting  other  articles. 
When  grounding  the  rim  of  a  plate,  draw  the  brush  from 
the  inner  edge  to  the  circumference.  A  cup  should  be 
held  by  the  handle,  the  strokes  running  from  the  bottom 
to  the  top.  The  paint  that  runs  over  the  edge  can  be 
carefully  wiped  away  with  a  rag,  or  in  the  case  of  a  plate 
rim,  it  had  better  be  scraped  away  when  dry  with  a  knife. 
It  is  necessary  to  be  very  careful  in  this  latter  process, 
as  the  inner  edge  should  be  very  regular  and  clear  cut. 
In  tinting  any  article  presenting  a  curved  surface,  a 
brush,  called  a  deer’s  foot  from  its  shape,  is  very  useful 
for  dabbling  the  curved  portions  A  very  pretty  style 
of  decoration  is  to  ground  the  article  to  be  decorated  in 
two  colors.  In  this  case,  the  design  having  been  painted, 
one  color  is  put  on  over  a  portion  of  the  plate,  leaving  a 
very  clear  straight  margin.  This  is  fired  and  then  the 
other  color  is  put  on.  I  have  seen  a  very  pretty  cup, 
saucer,  and  plate  decorated  in  this  way  with  a  stem  of 
pussy  willows  and  quince  blossoms,  on  a  blue  and  maize 
ground.  Another  style  of  grounding  is  what  is  ofien 
called  a  Bennett  background.  It  is  much  easier  to  put 
on,  but  requires  good  taste  in  the  arrangement  of  colors. 
To  put  on  such  a  background,  you  lay  on  a  variety  of 
colors,  in  irregular  patches  and  then  blend  them  all.  You 
may,  for  instance,  ground  a  vase  in  succession  tints  from 


114  NEEDLES  AND  BRUSHES 

a  warm  dark  brown  at  the  bottom  to  the  palest  blue,  or 
you  may  have  a  mottled  ground  of  but  oue  color  by  vary¬ 
ing  the  intensity  of  the  tints.  Turquoise  blue  or  green 
are  either  of  them  beautiful  used  in  this  way.  Peculiar 
and  oftentimes  beautiful  effects  can  be  produced  by  sim¬ 
ply  pouring  liquid  over  a  tile  or  plate,  and  letting  it  dry. 

In  decorating  cups,  pitchers,  vases,  etc.,  having 
handles,  it  is  often  desirable  to  have  the  latter  much 
darker  in  color  than  the  body  of  the  object  decorate. 
This  is  effected  by  putting  on  repeated  coats  of  color, 
letting  each  successive  coat  become  thoroughly  dry.  No 
flattening  is  needed,  as  a  general  rule  for  such  small 
pieces  of  work. 

In  Fig.  29, 1  have  used  one  of  Kate  Greenaway’s  sket- 


Fig  29. 

dies  to  enable  me  to  point  out  some  of  the  initial  steps 
in  landscape  painting.  It  affords,  also,  an  illustration  of 


AND  HOW  TO  USE  TEEM. 


115 


the  ease  with  which  decorative  designs  may  he  adapted 
to  the  use  of  the  amateur. 

It  can  he  used  for  a  tile  or  small  plaque  or  plate.  And 
just  here  perhaps  is  a  good  time  to  say  that  it  is  not 
necessary  always  to  huy  new  china  to  hegin  painting  on. 
Cups  and  saucers  and  plates  that  have  been  in  use  for 
years  may  he  successfully  decorated  so  long  as  they  are 
not  flawed  in  any  way,  and  a  first  attempt  at  this  design 
may  as  well  he  painted  on  a  tea  plate  as  on  anything 
else.  When  finished  it  makes  a  pretty  ornament  when 
hung  up.  Transfer  or  sketch  your  design  as  previously 
directed.  Have  the  horizon  line  a  little  above  the  middle 
of  the  plate.  Have  ready  on  your  palette,  some  sky 
blue,  mixed  as  for  grounding,  and  also  some  gray,  formed 
by  mixing  apple  green  and  carmine,  using  rather  more 
carmine  than  green.  Paint  the  sky  over  as  if  for 
grounding,  using  the  sky  blue  for  the  upper  part,  and 
the  gray  for  the  lower,  taking  care  to  put  on  the  blue 
more  thinly  as  you  approach  the  gray.  If  you  wish 
clouds,  wipe  them  out  very  quickly  with  a  cloth,  and 
then  dabble  the  whole  exactly  as  you  would  a  ground 
tint.  You  can  paint  shadows  to  your  clouds  with  a  gray 
made  of  ivory  black  and  sky  blue,  adding,  if  you  wish,  a 
little  ivory  yellow  for  the  lighter  parts.  When  done, 
the  blue  should  seem  to  melt  into  the  gray,  giving  to 
the  lower  parts  of  the  sky  a  receding  appearance.  This 
is  called  the  distance.  You  may,  since  the  landscape  is 
so  conventional,  omit  the  clouds  if  you  choose.  Now 
carefully  clean  the  plate  (after  it  is  thoroughly  dry) 
below  the  horizon  line  of  all  color  except  the  lines  of  the 
design,  and  paint  in  your  horizon  line  with  ivory  black. 
Use  a  fine  pointed  brush  and  make  the  lines  as  fine  as 
possible,  as  much  of  the  beauty  of  your  plate  depends 
on  this  being  delicately  done.  While  you  are  waiting 
for  the  sky  to  dry  you  can  be  painting  the  foreground. 
The  grassy  hill  must  first  be  washed  over  with  yellow 


116 


NEEDLES  AND  BRUSHES 


the  grassy  hill  must  first  he  washed  over  with  yellow 
brown.  Observe,  in  painting,  the  general  direction  of 
the  shadows,  so  as  to  have  them  all  lying  the  same  way. 
It  is  not  at  all  necessary  to  have  a  uniform  tint  in  doing 
this  part  of  the  work,  a  very  little  care  will  make  the 
darker  tints  appear  where  the  shadows  lie.  It  is  as  well 
to  dabble  over  the  ground  tint,  as  it  makes  it  a  little 
easier  to  put  in  the  greens  afterward. 

If  your  sky  is  thoroughly  dry  by  this  time,  paint  the 
water  with  a  tint  formed  by  mixing  apple  green  and  sky 
blue.  Put  on  the  tint  writh  horizontal  strokes,  giving 
the  appearance  of  slightly  undulating  waves,  and  keep¬ 
ing  the  tint  slightly  deeper  as  it  approaches  the  shore. 
It  is  well  to  have  two  shades  of  the  paint  mixed.  By 
mixing  the  green  and  blue  iu  nearly  eveu  quantities,  a 
gray  tint  is  produced,  while  the  addition  of  a  little  green 
as  the  water  reaches  the  shore  is  a  decided  improvement. 
But  there  must  be  no  abrupt  transition.  Do  not  dabble 
the  water.  Sketch  your  tree  and  the  fence  in  with  dark 
brown.  Paint  the  foliage  with  grass  green,  modified 
occasionally  with  a  little  mixing  yellow.  Paint  the 
children’s  dresses  and  the  outside  of  the  umbrellas  with 
dark  blue,  stippling  if  necessary,  to  give  a  smooth  tint. 
The  caps,  aprons,  and  sleeves  are  left  white,  but  should 
be  outlined  with  black.  The  sticks,  ribs,  and  outlines 
of  the  umbrellas  should  be  painted  in' black.  The  inside 
of  the  umbrellas  in  a  mixture  of  blue  and  green.  The 
faces  and  hands  are  painted  in  ivory  yellow  and  flesh 
red  No.  1,  put  on  very  thinly,  and  then  the  features  put 
in  with  a  very  fine  brush  in  black — the  hair  may  be  yel¬ 
low  or  brown.  You  may  have  some  trouble  to  get  the 
faces  to  suit  you,  but  patient  trying  will  bring  success 
iu  drawing  eyes  that  don’t  squint  and  mouths  of  a  decent 
size,  which,  after  all,  is  about  all  that  can  be  attained,  as 
the  size  of  the  drawing  does  not  allow  for  much  expres¬ 
sion.  Shade  the  trunk  of  the  tree  with  dark  brown, 


AND  HOW  TO  USE  THEM. 


117 


or  preferably  with  asphalt,  putting  the  color  on  with 
short  strokes  to  imitate  the  roughness  of  the  bark.  Out¬ 
line  tbe  fence  and  posts  in  the  same  way.  Color  the 
boats  with  either  brown,  green,  or  dark  brown,  outlined 
with  black,  as  are  the  sails,  which  last  are  left  entirely 
free  from  paint. 

Tbe  little  village  at  the  right  hand  can  next  be 
painted.  When  the  walls  are  visible  paint  them  yellow 
brown,  windows  black  or  asphalt.  The  roofs  can  be  of 
capucine  red,  with  one  or  two  of  brown  green,  all  of 
them  being  outlined  with  black.  Now  paint  the  grass  on 
with  different  shades  of  green,  using  grass  green  as  the 
predominant  tint,  modifying  it  with  mixing  yellow,  or 
using  brown  green  where  it  may  seem  needed.  Paint 
the  grass  with  short,  quick  strokes.  A  little  practice  on 
another  piece  of  china,  grounded  like  yoxxr  plaque  with 
yellow  brown  will  soon  give  you  the  requisite  touch. 
The  birds  are  painted  in  ivory  black  directly  on  the  col¬ 
or  of  the  sky.  When  you  have  the  plat©  tired,  have  a 
narrow  gilt  rim  put  around  it. 

While  many  who  attempt  china  decoration,  chiefly  con¬ 
fine  themselves  to  flower  painting,  the  simplest  and  in 
many  respects,  most  appropriate  style  of  decoration,  yet 
there  are  those  who  aim  higher,  and  wish  to  excel  in  land¬ 
scape  or  in  figure  painting. 

A  few  general  hints  as  to  means  employed  may  be 
useful  to  those  who  wish  to  try  a  more  complicated  pic¬ 
ture.  Ivory  yellow  and  carnation  red  in  combination 
with  the  tints  given  above,  maybe  used  for  sunset  or 
sunrise  skies. 

When  a  purplish  tint  is  wished  for  the  distance,  use 
deep  rich  blue  green  and  carmine.  Apple  green  modi¬ 
fied  with  black  green  or  brown  green,  can  be  used  for 
the  nearer  parts.  The  color  for  skies  should  be  laid  on 
delicately.  Use  short  broad  touches  in  painting  foliage. 
Study  always  the  character  of  the  tree  and  adapt  your 


118 


NEEDLES  AND  BRUSHES 


stroke  to  the  kind  of  foliage  to  be  delineated.  There  is 
great  room  for  study  of  color  in  foliage  and  specific 
directions  are  of  course  impossible.  Generally  grass  green 
may  be  used  for  the  dominant  color,  modified  with  mixed 
yellow  for  the  high  lights  and  with  brown  green  for  the 
shadows,  and  if  these  are  dark,  adding  a  little  deep  blue. 
Reflections  of  trees  in  water  can  be  painted  with  black 
green  mixed  with  grass  green.  Any  light  browns  may 
be  used  for  the  earth,  modifying  them  as  necessary  with 
black.  Very  pretty  landscapes  may  be  done  in  mono¬ 
chrome.  Brown  or  black  are  the  best  for  these.  They 
have  the  appearance  of  sepia  or  India-ink  drawings,  and 
afford  the  opportunity  for  very  good  study  in  light  or 
shade,  and  also  give  room  for  real  artistic  work.  Some 
of  Landseer’s  heads  of  animals  afford  excellent  study  for 
these  monochrome  plaques.  One  advantage  black  and 
white  has  over  color  is  that  color  often  draws  one’s  atten¬ 
tion  away  from  the  drawing.  Having  to  depend  entirely 
on  the  execution  of  your  picture  for  effect,  you  obtain 
a  far  greater  power  over  your  brush  in  using  black  only 
than  you  are  likely  to  obtain  if  you  can  cover  up  de¬ 
fects  effectively  by  combinations  of  color. 

No  one  should  attempt  painting  heads  unless  they  can 
draw  accurately.  Bad  drawing  is  never  so  perceptible 
as  iu  figures.  Having  your  design  very  accurately 
sketched,  the  first  step  in  painting  a  head  is  to  put  iu 
the  back  ground  with  a  mixture  of  one  third  ivory  black 
and  two  thirds  sky  blue.  Have  the  tint  dark  near  the 
head,  gradually  diminishing  it  in  intensity  until  it  is  lost 
in  the  white  of  the  china.  The  local  tint  of  the  face  is 
made  of  one  third  flesh  red  No.  II.  and  two  thirds  ivory 
yellow.  This  tint  can  be  blended  with  a  small  dabber. 
Then  put  iu  the  hair;  if  dark,  use  dark  brown  and  shade 
with  black  mixed  with  the  brown;  if  light,  use  yellow 
brown  or  sepia,  modified  with  black.  If  very  light,  use 
yellow  ivory  for  the  first  wash,  and  shade  with  sepia  and 


AND  HOW  TO  USE  THEM. 


119 


black.  Never  blend  the  hair,  but  try  to  make  your 
strokes  give  direction  to  the  masses.  When  shading  use 
a  fine  brush,  giving  as  much  as  possible  the  texture  of 
the  hair.  The  rest  of  the  work  can  be  more  safely  done 
if  you  have  your  work  fired  at  this  stage.  Then  deepen 
your  ground  by  cross-hatching  it  with  the  tint  already 
laid  on,  making  the  lines  rather  broad  and  slightly  curved. 
Put  in  the  features  with  a  shadow  tint  formed  by  mixing 
one  third  ivory  black,  one  third  sky  blue,  and  one  third 
flesh  red  No.  II.  Vary  this  tint  with  more  or  less  red, 
when  you  wisli  to  lighten  the  shadow,  or  in  parts  where 
the  color  is  particularly  ruddy.  Deep  red  brown  is  used 
for  deepening  the  color  on  cheeks  and  lips.  It  must  be 
very  carefully  used,  as  it  loses  a  little  in  firing.  A  little 
violet  of  iron,  or  a  little  black  mixed  with  the  red  brown 
can  be  used  for  shading  the  lips  and  nostrils.  The  eye¬ 
brows  are  pained  with  a  tint  corresponding  to  that  used 
for  the  hair.  Use  sky  blue  or  brown  shaded  with  black 
according  to  the  color.  The  white  of  the  china  can  be 
left  for  the  reflected  light  on  the  eye  or  it  can  be  touched 
with  permanent  white.  In  painting  white  drapery,  leave 
the  china  for  the  local  color  and  shade  with  sky  blue  and 
black.  These  are  very  genera]  directions.  Each  artist 
must  make  his  own  combinations,  but  these  may 
give  a  key  which  will  open  the  way  for  a  beginner. 

In  givingthese  directions,  I  have  several  times  alluded 
to  “firing  ";  the  process  by  which  the  colors  become  fixed. 
After  china  has  been  fired,  mistakes,  as  a  rule,  cannot  be 
remedied,  although  sometimes  they  may  be  painted  over. 
People  living  near  large  cities  can  generally  have  their 
“firing”  done  at  a  wholesale  china  store  or  at  a  decora¬ 
tor’s.  The  advertisements  of  many  such  firms  are -to  be 
found  in  papers  devoted  to  art  work,  and  dealers  in  ar¬ 
tists’  materials  can  generally  get  the  work  done,  or  pro¬ 
cure  the  address  of  some  firm  who  will  fire  amateur's 
work.  The  charges  for  firing  are,  as  a  rule,  moderate, 


120 


NEEDLES  AND  BRUSHES 


from  five  to  ten  cents  for  each  small  piece,  such  as  a 
cup,  a  saucer,  a  tile,  etc.,  and  increasing  in  accordance 
to  the  size  and  shape  of  the  article  to  be  baked.  Gilding' 
is  generally  done  by  the  decorators,  ns  their  facilities 
for  such  work  are  much  greater  than  an  amateur  can 
have.  The  charges  for  this,  too,  with  some  firms  are 
very  moderate.  I  have  had  a  cup  and  saucer  fired  and 
very  nicely  gilded  (a  narrow  rim  round  cup  and  saucer, 
with  a  very  prettily  decorated  handle)  for  twenty  cents. 

Always  mark  your  name  or  initials  or  some  “trade¬ 
mark  ”  on  the  back  with  black  paint,  and  keep  each 
piece  carefully  away  from  dust  and  smoke,  enemies  to 
be  guarded  against  in  all  processes  of  the  work.  In 
packing  china  to  be  carried  to  the  decorator’s,  the  chief 
thing  to  be  guarded  against  is  rubbing.  It  is  very  dis¬ 
heartening  to  have  your  china  brought  back  to  you  with 
parts  of  the  painting  entirely  removed.  By  having  your 
painting  perfectly  dry,  and  packing  it  in  soft  paper,  you 
will  avoid  this  risk. 

Small  kilns  for  the  use  of  amateurs  are  to  be  obtained 
at  prices  ranging  from  $3.00  to  $25.00.  The  statement 
has  been  made  that  any  woman  who  can  bake  bread 
properly  can  manage  these  kilns,  but  it  is  not  every  one 
who  can  bake  perfectly,  and  mistakes  in  firing  china 
would  be  far  more  lasting  and  provoking  than  in  baking 
bread.  Still,  some  who  have  tried  them,  have  had  great 
success  with  them,  and  the  possession  of  one  would  be  a 
great  aid  in  learning  combinations  of  color,  as  experi¬ 
ments  could  be  tried  on  bits  of  broken  china. 

Sometimes  when  the  firing  is  done  the  coloring  in  part 
or  whole  will  seem  weak  or  faded.  This  can  be  remedied 
by  painting  the  design  over  again,  especially  strengthen¬ 
ing  any  weak  places,  and  having  the  whole  fired  over. 
Many  always  have  their  china  fired  at  least  twice,  while 
some  authorities,  amongst  whom  is  Miss  McLaughlin,  say 
that  ordinarily  one  firing  is  sufficient.  Of  course,  if  the 


AND  HOW  TO  OSH  THEM. 


121 


china  is  to  be  fired  but  once,  the  painting  must  be  more 
carefully  finished  in  every  part  than  if  a  second  painting 
is  to  be  done.  Gilding  should  be  deferred  to  the  last 
firing. 

Mineral  colors  come  in  two  forms, — the  Lacroix  colors, 
which  are  ready  mixed  for  use,-— and  in  powder  shape. 
Amateurs  generally  prefer  the  former  as  they  are  much 
more  convenient  to  use,  while  professional  decorators 
more  generally  employ  the  powdered  colors.  The  latter 
are  said  to  retain  their  brilliancy  longer,  are  cheaper, 
and  furnish  some  ver}7  desirable  tints  not  procurable  in 
the  tube  colors.  When  used  with  turpentine,  they  must 
first  be  thoroughly  ground.  To  do  this,  put  a  little  of 
the  color  on  the  palette,  then  add  just  enough  fat  oil  (oil 
of  turpentine)  to  allow  of  freely  mixing  the  color.  This 
must  be  thoroughly  mixed  with  either  palette  knife  or 
glass  muller,  the  latter  being  preferable,  and  then  mixed 
with  turpentine  as  with  the  tube  colors.  Care  should  be 
taken  not  to  use  too  much  fat  oil. 

The  smell  of  turpentine  or  oil  of  lavender  is  extremely 
unpleasant  to  some  people,  in  some  cases  rendering  it 
almost  impossible  for  them  to  practice  this  branch  of  art 
work.  To  obviate  this  difficulty  some  use  glycerine  as  a 
medium,  and  as  this  mode  of  mixing  the  colors  has 
certain  advantages  it  may  be  well  to  give  directions 
for  it. 

Grind  up  the  colors  with  equal  parts  of  finely  powder¬ 
ed  gum  and  glycerine,  making  the  color  when  mixed 
about  the  consistency  of  butter  (in  ordinary  temperate 
weather)  and  using  glycerine  to  paint  with  in  the  place 
of  turpentine. 

Painting  done  with  glycerine  does  not  dry  as  rapidly 
as  when  turpentine  is  used,  and  it  is  well  to  place  the 
painting  in  an  oven  between  the  painting  and  the  re¬ 
touching,  as  two  wet  colors  will  spoil  each  other.  To 
beginners  this  slowness  in  drying  is  sometimes  an  ad- 


122 


NEEDLES  AND  BRUSHES 


vantage.  The  colors  once  mixed  with  glycerine,  can  be 
kept  ready  for  painting  for  several  weeks,  if  carefully 
kept  from  the  dust  under  a  bowl  or  glass  jar,  and  thus 
some  expense  and  trouble  are  saved.  Perhaps  it  is  as 
well  to  add  that  with  the  tube  paints,  colors  left  on  the 
palette  can  be  used  again  by  the  addition  of  fresh  tur¬ 
pentine.  Glycerine  painting  should  have  a  coat  of  lav - 
endar  oil  all  over  it  before  firing.  This  should  be  put 
on,  after  the  painting  is  thoroughly  dry,  with  a  broad 
flat  brush  in  even  strokes,  proceeding  regularly  from  one 
side  to  the  other. 

Monograms  should  be  very  carefully  and  accurately 
drawn,  and  can  be  painted  either  iu  colors  or  "gold.  A 
prepared  liquid  gold  comes  for  this  purpose  ready  for 
use.  It  cau  also  be  procured  in  powder,  to  be  used  like 
other  colors  with  turpentine.  It  should  be  laid  on 
rather  thickly.  Where  colors  are  used  in  connection 
with  gold,  the  two  should  never  be  laid  over  each 
other,  as  they  do  not  fire  well. 

MOIST  WATER  COLORS  FOR  CHINA  PAINTING. 

Some  find  that  the  smell  of  turpentine  or  lavender  oil, 
used  in  china  painting,  has  an  injurious  effect  on  their 
health.  Especially  is  this  the  case  with  those  whose 
throats  are  delicate.  The  moist  water  colors,  prepared 
from  china  painting,  will  prove  a  boon  to  all  such.  The 
mechanical  part  of  this  work,  however,  is  a  little  more 
difficult  than  in  using  mineral  colors  mixed  with  oils. 
The  moist  water  colors  for  china  painting  come  in  pans 
like  Winson  and  Newton’s  water  colors.  As  they  do  not 
rub  off  easily,  however,  a  little  must  be  taken  off  with 
the  palette  knife,  and  rubbed  down  with  a  little  water. 

With  the  ordinary  mineral  paints,  it  is  generally  better 
to  use  the  paint  in  thin  washes,  thus  securing  delicacy 
of  tint,  but  with  the  water  colors  the  opposite  course  is 
necessary.  As  much  paint  should  be  used  with  each 
stsoke  as  the  brush  will  hold.  Over-painting  is  to  be 


AND  HOW  TO  USE  THEM. 


123 


avoided.  The  painting  has  to  he  frequently  dried  on 
the  stove,  to  prevent  removal  of  the  underlying  color, 
where  any  strokes  have  to  be  repeated.  There  is  more 
need  of  knowing  how  colors  “fire’’  with  these  colors  even, 
than  with  the  ordinary  mineral  paints,  as  they  look  very 
differently  before  and  after  tiring. 

A  preparation  of  megilp  comes  with  the  English  col¬ 
ors.  Its  use  is  to  thicken  the  paint  and  make  it  more 
manageable.  With  the  Dresden  colors,  a  preparation 
called  “under  glaze  ”  and  resembling  flux,  is  furnished. 
This  is  to  be  mixed  with  a  drop  of  fat  oil,  and  one  of  tur¬ 
pentine,  and  rubbed  perfectly  smooth  on  the  palette.  A 
thin  coating  of  this  is  then  laid  over  the  design  and  tho¬ 
roughly  dried  on  the  stove.  The  object  is  to  give  a  sur¬ 
face  to  which  the  paint  will  adhere  easily.  The  design 
can  be  readily  seen  through  this  coating  if  put  on  in 
ordinary  water-colors. 

UNDER,  GLAZE. 

In  all  that  has  been  said  hitherto,  reference  has  been 
made  to  painting  china  proper,  that  is,  pottery  that  has 
been  baked  and  glazed.  The  biscuit  case,  or  unbaked 
pottery, can  also  be  decorated,  and  these  decorations  made 
permanent  by  subsequent  baking.  This  work  requires 
much  more  skill  as  mistakes  cannot  be  so  easily  rendered 
as  in  over  glaze  painting.  The  ware  is  so  porous  before 
baking  that  the  color  sinks  into  it  as  into  almost  immedi¬ 
ately.  To  obviate  this,  a  thin  coating  of  gum  tragacanth 
and  water,  or  size  is  employed.  Having  the  design 
well-traced,  the  first  washes  can  be  put  on  in  water  col¬ 
ors,  mixed  with  gum  and  Avater.  Then  paint  over  with 
the  mineral  color,  mixed  as  for  over  glaze  painting,  Avith 
either  turpentine  or  glycerine.  Colors  come  especially 
prepared  for  under  glaze  decoration.  More  oil  can  be 
used  on  under  glaze  painting  than  in  over-glaze,  because 
the  absorbent  nature  of  biscuit  prevents  the  danger  of 


needle 3  and  b ensues 


124 

blistering  or  crazing.  The  colors  attainable  for  uiider- 
glaze  painting  are  much  more  limited  in  number  thau  for 
china  painting.  The  reds  are  very  poor,  and  pinks,  pur¬ 
ples,  and  some  light  colors,  must  be  left  for  over  glaze. 

The  colors  change  much  more  in  the  process  of  firing 
in  under-glaze  than  in  china  painting  After  having 
once  been  fired,  additional  touches  may  be  given  with 
the  over-glaze  colors,  and  in  the  hands  of  an  expert  very 
fine  results  are  produced.  Under-glaze  is  a  favorite 
mode  of  decoration  with  those  who  are  good  colorists,  as 
well  as  skillful  handlers  of  the  brush. 

Some  times  biscuit  is  decorated  with  oil  paints,  being 
subjected  to  a  slight  firing  which  fixes  the  colors,  but 
this  decoration  is,  of  course  not  so  durable  as  when  done 
with  mineral  colors. 

I  have  seen  a  couple  of  little  brown  stone  jars  or  bot¬ 
tles  which  had  been,  when  bought,  filled  with  French 
mustard,  very  prettily  decorated  with  sprays  of  flowers, 
on  a  mottled  background,  painted  in  oil  and  then  fired. 
They  had  very  much  the  effect  of  under-glaze  painting. 

Special  colors  are  sold  for  the  different  varieties  of 
pottery  or  vitreous  painting,  as  for  over-glaze,  under¬ 
glaze,  glass,  terra  cotta,  etc.,  but  the  general  principles 
for  using  them  are  the  same  in  all  cases. 


LEATHER  WORK 


AND 

PAPIER  MACHE. 


The  heading  of  this  chapter  will,  to  most  readers,  I 
fancy,  bring  to  mind  the  leather  work  so  fashionable 
some  years  ago,  which  consisted  in  cutting  out  leaves, 
flowers,  etc.,  from  sheet  leather,  and,  after  veining 
and  moulding  them  into  graceful  and  natural  positions, 
glueing  them  on  to  a  foundation.  This  work  was  some¬ 
times  left  the  natural  color  of  the  leather,  but  more 
often  was  stained  almost  black.  Some  of  the  work  done 
was  very  beautiful,  but  it  soon  went  out  of  favor,  and 
little  of  it  is  now  seen.  The  art  of  making  it  is  very 
simple,  hardly  requiring  directions.  The  leaves  (which 
were  the  most  desirable  objects  to  be  copied)  are  cut 
out,  and  while  damp,  veined  with  a  bodkin  or  a  tooling 
wheel  (a  tracing  wheel  without  the  sharp  points),  bent 
into  shape  and  mounted  on  stems.  These  stems,  as  in 
wax  flowers,  are  made  of  fine  wire,  covered,  however, 
with  thin  leather  instead  of  silk.  Tendrils  are  made  of 
narrow  strips  of  leather,  well  dampened  in  salt  or  alum 
water,  and  rolled  about  a  round  stick  to  dry.  The  leaves 
are  stretched  over  any  suitable  curved  surface,  such  as 
the  bowl  of  a  spoon,  a  ball,  etc.,  to  give  the  desired 
shape.  Sometimes  moulding  with  the  fingers  is  all  that 
325 


126 


NEEDLES  AND  BRUSHES 


is  necessary.  Much  of  [the  success  of  this  kind  of  work 
must  depend  on  the  skill  and  ingenuity  of  the  worker. 

But  there  is  another  much  more  satisfactory  kind  of 
work  to  be  done  in  leather.  It  is  an  ancient  art  revived. 
Like  repoussee  work  it  owes  this  recognition  to  Mr. 
Leland,  so  far  at  least  as  amateurs  are  concerned. 

In  the  Art  Union  for  1817,  a  long  and  interesting 
account  is  given  of  what  is  called  a  patent  process  of 
working  in  relievo  leather  practised  by  Messrs.  F.  Leake 
&  Co.,  of  London,  and  several  of  the  illustrations  here 
given  are  copies  of  work  done  by  that  firm.  To  quote 
from  the  article  in  question: 

“It  will  scarcely  be  believed  that  leather  thus  pre¬ 
pared  is  a  material  sufficiently  tractable  to  assume  all  the 
sharpness  and  nicety  of  touch  which  distinguish  these 
works;  but  in  the  flowers,  fruits,  and  animals — figures 
which  are  executed  in  profusion,  there  is  discoverable, 
with  the  liberal  and  mellow  breadth  to  which  we  have 
alluded,  a  sharpness  and  fineness  of  outline  all  sufficient 
for  the  closest  imitation  of  nature;  and  it  might  be  sup¬ 
posed,  from  the  tenacious  quality  of  the  material,  that 
the  assumption  of  delicate  form  might  only  be  temporary 
— that  the  necessary  tension  might  yield  to  time,  to 
damp,  or  to  some  of  the  numerous  fortuities  to  which 
furniture  and  interior  ornament  are  exposed,  but  .there 
is  no  reason  to  apprehend  changes  of  this  kind,  since  it 
is  found  to  maintain  incorruptibly  every  form  confided 
to  it,  and  with  age,  to  acquire  a  superior  quality  of 
durability. 

Fig.  30  is  the  cover  for  a  book,  designed  by  Owen 
Jones,  and  to  any  one  who  has  learned  to  carve  in 
intaglio  will  not  prove  difficult  of  execution.  Of  course? 
another  title  could  be  substituted  for  the  “Gray’s  Elegy,” 
or  the  center  might  be  filled  with  an  “all  over”  design, 
the  whole  work  being  used  as  a  panel,  or,  the  border 
alone  being  used,  a  remarkably  beautiful  frame  would  be 


4NH  EOW  TO  USE  THEM.  127 

the  result;  all  the  illustrations  can  be  used  also  for  wood 

carving  or  brass  work. 


Fig.  30. 


The  material  necessary  for  undertaking  this  work  is  not 


128 


NEEDLES  AND  BRUSHES • 


necessarily  expensive.  For  coarse  work  yon  can  use 
scraps  of  leather  which  can  be  obtained  at  a  low  price 
from  a  book  bindery;  scrape  or  rasp  these  to  powder, 
and  mix  thoroughly  with  paper  and  dextrine  paste  or 
patent  knotting.  Roll  perfectly  smooth  with  a  wooden 
ruler.  Draw  or  transfer  a  design  to  it,  and  depress  the 
background  as  in  repoussee  work.  Or  you  may  have  the 
design  either  cut  in  intaglio  in  wood, or  in  the  shape  of  a 
plaster  mould  well  hardened  with  gum  arabic  and  alum- 
Press  your  soft  leather  into  this,  hammering  it  gently 
into  every  part  ot’  the  mould. 

The  leather  is  softened  by  being  soaked  in  a  pot  or 
pan  of  alum  water,  made  in  the  proportion  of  a  table 
spoonful  of  alum  to  a  pint  of  water.  Salt  may  be  sub¬ 
stituted  for  the  alum.  Soak  the  leather  from  ten 
minutes  to  ten  hours,  as  you  find  desirable.  Experience 
will  teach  you  when  it  is  in  the  right  condition.  The 
water  may  be  either  hot  or  cold;  in  this,  also,  “judg¬ 
ment  ”  being  the  only  guide.” 

Another  easy  way  of  ornamenting  it  is  to  cut  a  pattern 
with  the  fret  saw  from  sheet-iron,  brass,  or  zinc,  and 
press  it  into  the  soft  leather.  It  can  be  dyed  a  good 
black,  and  when  thoroughly  dry  will  be  extremely  hard 
and  almost  unbreakable. 

For  finer  work,  sheets  of  basil  or  skiver  are  used, 
either  alone  or  in  connection  with  papier  mache  or 
leather  scraps. 

A  plate  or  a  small  wooden  bowl  may  be  used  as  a 
foundation.  Lay  on  it  a  piece  of  soft,  damp  paper  to 
prevent  the  subsequent  work  from  stickiug  to  the  plate. 
Then  cut  from  fifteen  to  twenty  pieces  exactly  fitting 
the  plate,  from  soft  newspaper,  and  with  dextrine  or 
even  with  good  flour  paste,  paste  them  together,  keep¬ 
ing  them  as  smooth  as  possible. 

Have  ready  some  sand  tied  up  in  a  piece  of  stout 
cloth,  and  use  it  as  a  mallet  to  make  the  layers  lie 


AND  now  TO  USE  THEM, 


129 


perfectly  even.  Strike  gently  over  the  surface  until 
the  paper  plate  is  perfectly  smooth  and  even.  Instead 
of  the  paper  you  can  use  leather  scraps,  soaking  them 
from  ten  to  fifteen  minutes  in  hot  alum  water,  and  then 
fitting  them  together  so  as  to  form  a  smooth  surface, 
using  the  sand  hag  to  secure  an  equal  thickness 
throughout.  As  you  become  used  to  handling  this 
pasted  paper  or  leather,  you  will  find  you  can  mould  it 
like  wax  in  your  hands,  and,  with  practice  can  model 
from  it  any  desired  object.  When  you  have  attained 
some  degree  of  skill  in  handling  it,  you  can  model  your 
ornamentation  as  you  would  in  clay.  Few  tools  are  needed 
for  this  work.  A  few  gouges,  both  flat  and  half  round, 
a  pen-knife,  pair  of  scissors,  compasses,  and  a  couple  of 
pattern  or  tracing  wheels,  one  with  and  one  without 
sharp  points  are  all  that  need  be  bought.  A  wooden 
knife  with  a  point  is  needed  for  various  purposes,  such 
as  scraping,  working  the  leather  into  corners,  etc. 
Wooden  gouges  and  chisels  can  be  whittled  out  as  you 
find  need  for  them.  One  or  two  grounding  tools  like 
those  used  imrepoussee  work  will  be  found  useful. 

Having  your  papier  mache  or  leather  “core”  ready 
you  can  ornament  it  by  means  of  designs  cut  out  of 
thick  card-board,  or  out  of  a  sheet  of  papier  mache  of 
the  proper  thickness.  Thus  you  can  arrange  a  wreath 
of  ivy  leaves,  or  cut  Gothic  letters  to  form  a  motto 
round  the  edge. 

Bosette  designs  can  be  formed  by  using  wooden 
button  moulds,  or  you  can  make  rosettes  of  papier- 
mache  or  card-board,  and  arrange  them  round  the  edge 
of  the  plate  or  bowl,  glueing  or  pasting  them  into 
position.  Then  take  a  piece  of  thin  skiver  which  has 
lain  in  hot  water  for  two  or  three  minutes  and  lay  it  on 
the  core.  It  should  be  an  inch  or  two  larger  in  diameter 
than  the  plate.  With  fingers  and  tools  stretch  it  care¬ 
fully  over  the  inside  of  the  core,  working  it  into  every 


130 


NEEDLES  AND  B  RUSHES 


corner  and  depression.  To  do  this  successfully,  you 
must  begin  at  the  centre  aud  work  outwards  in  all  sides 
When  finished,  the  leather  should  look  as  if  the  orna¬ 
ments  had  been  originally  moulded  from  it.  Draw  the 
leather  over  the  edges  aud  paste  it  down  on  the  wrong- 
side.  Cover  the  under  side  with  a  piece  of  skiver, 
glueing  it  neatly  on.  The  ground  between  the  ornaments 
can  be  indented  with  a  cross  hatched  punch  if  desired. 
Should  your  leather  become  dry,  moisten  it  with  a 
sponge. 

To  make  around  box,  the  core  should  be  made  round  a 
wooden  cylinder,  the  ornamentation  being  either  modelled 
by  hand,  or  else  cut  out  and  glued  on  as  described  for 
the  plate  above.  The  bottom  of  the  box  can  either  be 
moulded  on  the  cylinder,  thus  making  the  box  in  one 
piece,  or  can  be  cut  out  and  glued  on  afterwards.  Slip 
the  core  off  the  cylinder  and  cover  with  damp  skiver  as 
directed.  Form  the  cover  in  the  same  way.  A  piece  of 
thick  card-board  projecting  above  the  box  should  be 
fitted  into  it  to  hold  the  cover  on. 

Tankards  can  be  made  in  the  same  way  over  cylindrical 
cones  of  wood.  Handles  can  be  fitted  on  if  desired,  made 
of  leather  waste  and  rolled.  If  the  glue  used  in  making 
the  core  have  bi-chromate  of  potash  mixed  with  it,  the 
papier  mache  will  be  water-proof.  If  instead  of  a  papier- 
mache  core  solid  boiled  leather  be  used,  the  tankards 
will  be  serviceable  for  holding  liquids. 

Quivers,  shot  flasks,  and  horns  are  all  suitable  subjects 
for  leather  work,  and  varied  designs  can  be  found  in 
many  books  of  antiquities.  Bonbonnieres  of  all  sorts 
can  be  manufactured  from  papier  mache  and  then 
painted,  varnished  or  inlaid.  China  figures  can  be 
bought  at  the  toy  stores  on  which  these  can  be  moulded. 
When  necessary,  the  papier  mach6  can  be  cut  apart,  and 
afterwards  sewn  or  glued  together.  A  little  study  of 
s nine  of  the  bonbonnieres  now  furnished  will  enable  any 


AND  HOW  TO  USE  THEM. 


131 


one  to  carry  out  this  idea.  When  leather  work  is  backed 
with  a  mixture  of  glue  and  naptha,  it  becomes  as  hard 
as  horn,  and  almost  unbreakable.  If  the  design  is 
worked  in  very  high  relief  the  back  should  be  tilled  up 
wdth  sawdust  and  glue,  cement,  or  with  plaster  of  Paris 
mixed  with  gum  arabic. 

Very  good  effects  are  produced  by  heating  the  brass 
stamps  already  alluded  to,  and  pressing  them  into  the 
leather.  Gilding  may  also  be  applied  to  leather  with 
very  good  effect.  To  stain  it  black,  rise  good  ink  or 
ebony  stain. 


PAPIER  MACH#.. 

Some  idea  of  the  capabilities  of  papier  mache  can  be 
formed  from  the  following  extract  from  a  late  paper. 
The  speaker  is  a  “property  man”  at  one  of  the  New 
York  theatres. 

“Urns,  vases,  bronzes,  carved  mantlepieces,  helmets, 
shields,  and  similar  “props”  are  all  made  from  old  paper. 
Yea,  even  a  Grecian  urn,  on  which  Keats  might  write 
an  ode,  can  be  built  out  of  paper,  which  may  once  have 
enclosed  the  unpoetic  but  soul-searching  ham;  I  can 
give  you  a  description  of  the  method  of  making  an  urn, 
and  that  will  serve  as  an  earnest  of  all  the  rest.”  The 
process  of  making  a  plaster  mould  tor  an  urn  having 
been  described,  the  property  man  goes  on  to  say: 

“Now  we  are  ready  for  the  paper.  It  must  be  heavy 
and  free  from  glazing.  Ruthlessly  tear  this  paper  into 
small  pieces,  and  soak  it  well  in  clean  water.  While  the 
paper  is  in  the  water,  you  proceed  to  grease  the  mould 
well  with  sweet  oil  or  lard.  If  this  is  not  properly  done 
it  results  in  dire  disaster  at  a  later  stage  of  the  work. 
Now  lay  on  a  coat  of  wet  paper.  Be  careful  to  fill  up 
all  the  works  and  crannies  of  the  mould.  Put  on  four 
more  coats  of  paper.  Then  put  on  a  layer  of  muslin  and 


132 


NEEDLES  AND  BRUSHES 


glue.  Now  put  on  three  more  coats  of  paper.  Now  it 
must  be  left  to  dry  for  twelve  hours.  iWhen  it  is  so  dry 
you  couldn’t  squeeze  a  tear  out  with  a  hydraulic  ram, 
draw  out  the  inner  coats  of  paper,  leaving  the  muslin 
and  three  outside  coats.  I  ought  to  have  told  you  that 
only  one-half  of  the  urn  is  made  in  this  way  at  a  time. 
When  both  halves  are  ready,  trim  down  the  edges  care¬ 
fully  and  sew  them  together  with  stout  twine.  Cover 
the  seam  with  a  thin  coat  of  paper,  and  then  you  are 
ready  for  the  painting.  First  give  it  a  coat  of  whitening. 
Then  sandpaper  it  well.  Now  you  may  apply  the  final 
color.  You  can  get  up  a  handsome  blue  and  gold  vase 
by  the  use  of  blue  paint  and  gold  leaf.  Bronze  is 
imitated  very  closely  by  a  coat  of  bronze  powder,  which 
you  can  get  at  any  paint  store.” 

Impressions  can  be  taken  of  inscriptions,  old  brasses, 
etc.,  by  first  oiling  them,  and  then  pressing  wet  paper 
thoroughly  ink)  every  indentation.  Such  impressions  are 
called  “squeezes,”  and  are  used  to  obtain  fac  similes  of 
.nscriptions.  By  diligent  use  of  the  sand  bag,  papier 
inache  can  be  rendered  very  hard.  The  extreme  light¬ 
ness  of  objects  made  from  it  is  a  great  advantage. 

Members  of  amateurs’  theatrical  clubs  might  find  it 
advantageous  to  practice  this  art  somewhat,  as  it  might 
sometimes  aid  them  in  making  needful  properties. 

Helmets,  shields,  swords,  etc.,  could  be  fashioned  with 
comparatively  little  difficulty. 

Papier  maelie  is  extensively  manufactured  in  Birming¬ 
ham,  England.  At  one  time  it  was  largely  employed  in 
the  interior  decoration  of  houses  in  place  of  stucco. 

Many  fine  buildings  are  thus  adorned. 

In  Birmingham,  articles  made  of  this  material  are 
coated  with  successive  layers  of  asphalt  varnish,  which 
being  dried  by  oven  heat,  leaves  a  surface  capable  of 
receiving  a  high  polish.  Mother  of  pearl  is  much  used 
in  their  decoration,  for  which  purpose,  when  several 


AND  HOW  TO  USE  THEM.  i3S 

layers  of  tlie  varnish  still  remain  to  be  applied,  thin 
flakes  of  the  shell  are  placed  on  the  varnish  in  the 
required  design,  and  are  covered  by  the  succeeding 
layers,  giving  rise  to  slight  elevations  when  they  are 
hidden  by  the  coats  of  varnish  The  surface  is  then 
ground  down  smooth  with  sand  paper  and  polished,  and 
the  grinding  down  brings  to  light  the  pieces  of  mother  of 
pearl  shell,  which  thus  present  the  appearance  of  inlaid 
patterns.  The  fine  surface  which  can  be  given  to  the 
asphalt  varnish,  also  permits  of  burnished  gilding  and 
other  decoration  applications  with  excellent  effect. 

Papier  mache  may  also  be  used  for  relief  ornamenta¬ 
tion  for  friezes,  etc.  The  surface  to  be  docorated  should 
first  be  hacked  with  a  knife,  and  then  kalsomined,  saw¬ 
dust  being  added  to  the  kalsomine,  so  as  to  give  a  rough 
surface  on  which  the  papier  mache  ornaments  are 
fastened  by  means  of  strong  glue.  The  papier  mache 
should  have  gum  arabic  and  a  little  glycerine  added  to 
it.  The  latter  prevents  the  composition  from  drying  too 
rapidly.  Wild  roses,  passion  flowers,  etc.,  can  be  advan¬ 
tageously  used  for  such  decorations,  which  should  be 
painted  over  with  different  colored  bronzes. 

It  should  be  remembered  that  both  in  leather  work 
and  papier  mache,  it  is  desirable  to  model  rather  than 
stamp  or  mould.  The  material  when  properly  treated  is 
quite  as  plastic  as  clay,  and  will  well  repay  the  efforts 
made  in  learning  to  manage  it  properly. 

Fig.  31  shows  a  chair  bolster  covered  with  dark  brown 
morocco  which  is  ornamented  in  a  peculiar  way  called 
“racing.”  The  rosettes,  loops,  and  tassels  at  the  ends 
are  also  made  of  the  same  material,  the  first  catching 
together  the  leather  covering  which  is  here  gathered 
and  drawn  in  close;  from  four  to  five  inches  are  to  be 
allowed  in  length  beyond  the  measure.  To  make  the 
raced  design  (which  can  be  drawn  on  the  leather  with  a 
colored  pencil,  or  else  transferred)  the  outlines  must  first 


j  U  NEEDLES  AND  BRUSHES 

lie  carefully  pierced  out  with  a  sharp  penknife;  before 
taking-  away  the  raced  upper  part  of  the  leather,  which 
can  be  removed  either  from  the  design  proper,  or  from 


Fig.  31. 


the  ground,  the  leather  must  be  thoroughly  soaked  in 
water  at  the  back,  so  that  the  outer  part  of  the  skin 
may  draw  off  easily  and  the  leather  be  smooth  beneath, 
and  the  cut  design  clearly  visible. 


Fig.  32. 


directions  on  page  “in  chapter  on  crochet  ”)  above  a 
plusli  strip  set  on  to  the  edge  of  the  cushion; 
..larger  -pompons  finish  -the  corners.  ••  Brown  ;  leather, 
with  brown  or  fawn  colored  plush,  with  r>om 


AND  HOW  TO  USE  THEM.  135 


Fig.  32  is  a  sofa  cushion  decorated  in  the  same 
way,  the  working  detail  being  given  in  Fig.  33.  In 
the  model,  the  leather  cover  is  fastened  down  by  small 
loops  going  over  pompons  (or  woolen  balls  made  after 


136 


NEEDLES  AND  BRUSHES 


pons,  either  corresponding  or  of  two  shades,  would  be 
pretty  colors. 


Fig.  33. 

Fig.  34  is  a  book  cover  to  be  made  in  heavy  leather 
worked  in  relief  as  directed  above. 

TO  PAINT  LEATHER. 

Select  leather  that  has  been  thoroughly  well  dressed, 
draw  upon  it  with  a  chalk  pencil  the  subject  to  be 
painted,  and  size  all  over  the  design.  Use  the  common 
size  be  ught  at  an  ordinary  oil  and  color  shop,  melted 
over  the  fire  and  used  warm.  Paint  with  ordinary  tube 
oil  colors,  mixing  the  colors  as  for  oil  painting,  and  add¬ 
ing  to  each  some  japanners’  gold  size  as  a  dryer.  When 
it  is  only  required  to  turn  the  leather  black,  and  it  has 
previously  been  well  dressed,  it  will  be  so  well  impreg¬ 
nated  with  the  astringent  parts  of  oak  bark  as  only  to 


AMD  HOW  TO  USE  THEM. 


137 


Fig.  34 


138 


NEEDLES  AND  BRUSHES 


need  rubbing  over  two  or  three  times  with  a  solution  of 
vitriol.  A  gloss  can  afterwards  be  given  to  this  black 
leather  by  rubbing  it  over  with  a  mixture  of  gum  arabic 
and  size  melted  in  vinegar.  Should  the  b  ack  produced 
by  the  vitriol  not  be  deep  enough,  grind  up  some  lamp 
black  in  linseed  oil  and  rub  it  on  before  putting  on  the 
glazing.  When  small  places  in  the  painting  require 
gilding,  g\>  over  these  parts  with  the  white  of  an  egg, 
and  attach  the  gold  leaf  to  them,  having  previously 
waxed  a  piece  of  tissue  paper,  taken  up  the  gold  leaf  on 
it,  and  cut  it  to  the  size  required.  When  a  large  surface 
requires  gilding,  take  some  brown  red,  grind  it  in  a  mai¬ 
ler,  and  mix  it  with  water  and  chalk,  and  when  the  chalk 
is  dissolved,  rub  it  over  the  leather  until  the  whole  sur¬ 
face  has  a  whitish  look.  Attach  whole  sheets  of  gold 
leaf  to  the  tissue  paper,  and  lay  them  upon  the  leather 
before  it  is  dry,  taking  care  that  the  edges  of  the  leaves 
overlap  each  other.  Allow  the  leather  to  dry  and  harden, 
and  then  polish  the  gold  well,  but  lightly  rubbing  it 
with  an  ivory  polisher. — From  the  Art  Interchange. 

HOW  TO  ORNAMENT  HORNS. 

It  is  not  generally  known  that  common  ox  horns  can 
be  so  worked  and  decorated  as  to  make  both  useful  and 
ornamental  objects.  The  modern  spelling  of  lantern  is 
rather  unfortunate,  inasmuch  as  it  loses  sight  of  the 
origin  of  that  extremely  useful  article,  the  lanthorn  of 
King  Alfred’s  invention,  in  which  thin  plates  of  trans¬ 
lucent  horn  were  used  to  guard  that  monarch’s  candle 
clocks  from  the  wind. 

Drinking  horns  in  earlier  days  were  often  decorated 
profusely,  and  many  fine  specimens  still  exist.  In  the 
earlier  part  of  the  century,  horns  were  constantly  used 
as  powder  flasks,  and  much  care  was  often  bestowed  on 
giving  them  a  fine  polish,  in  itself  a  great  ornament,  for 


AND  HOWTO  USE  THEM. 


139 

ox  horns  show,  when  polished,  beautiful  gradations  of 
color. 

As  far  down  as  the  time  of  George  II,  but  dating  back 
to  the  time  when  printing  was  an  unknown  art,  “horn 
books”  were  in  rise  in  England  in  the  place  of  the  many 
primers  and  other  elementary  books  which  now  flood  the 
country.  These  consisted  of  a  single  leaf,  containing  on 
one  side  the  alphabet,  large  and  small,  in  black  letter  or 
iu  Boman,  with  perhaps  a  small  regiment  of  mono¬ 
syllables.  Then  followed  a  form  of  exorcism  and  the 
Lord's  Prayer,  and  as  a  finale,  the  Boman  numerals. 
The  leaf  was  usually  set  iu  a  wooden  frame,  with  a  slice 
of  transparent  horn  in  front— hence  the  name  of  horn 
book.  There  was  a  handle  to  hold  it  by,  and  usually 
this  handle  had  a  hole  for  a  string,  whereby  the  appar¬ 
atus  was  fastened  to  the  girdle.  Sometimes  the  leaf  was 
simply  pasted  to  a  slice  of  horn.  These  horn  books  are 
extremely  rare  now.  Sheustone  alludes  to  them  iu  his 
poem,  “The  Schoolmistress.”  When  alluding  to  the 
children  he  says: — 


“  Their  books  of  stature  small,  they  take  in  hand. 

Which  with  pellucid  horn  secured  are, 

To  save  from  fingers  wet  the  letters  fair.” 

Horns  can  be  easily  softened  in  hot  water,  and,  so 
softened,  can  be  flattened,  or  otherwise  moulded.  But 
the  natural  form  is  so  graceful  that  one  would  hardly 
wish  to  alter  it,  unless  it  be  to  present  a  little  more  con¬ 
venient  surface  for  decoration.  If  the  horns  are  procured 
at  a  slaughter  house,  they  will  need  cleaning  the  first 
thing.  This  is  done  by  soaking  them  in  water,  when  the 
pith  can  easily  be  separated  from  the  outside.  Cups  or 
tankards  can  be  made  of  them  by  cutting  off  a  section  of 
the  proper  length  .  In  order  to  render  the  horn  soft  enough 
fo  cut,  it  must  be  soaked  in  boiling  water.  While  still 


140 


NEEDLES  AND  BRUSHES 


soft,  a  groove  can  be  cut  on  the  inside  about  a  quarter 
or  half  an  inch  from  the  bottom.  Into  this  fit  a  circular 
piece  of  metal  or  horn.  A  little  ingenuity  will  enable 
one  to  fit  on  brass  mountings  at  top  and  bottom.  These 
mountings  can  be  rendered  still  further  ornamental  by 
either  chasing  or  repoussee  work.  In  their  original  shape 
or  slightly  flattened  horns,  can  be  ornamented  in  various 
ways,  and  utilized  for  holding  flowers,  grasses,  or  made 
into  bonbonnieres,  or  simply  hung  up  as  ornaments.  To 
polish  them,  they  should  be  rubbed  with  fine  sand  and 
emery  paper,  then  with  whiting,  and  finished  off  with  a 
little  sweet  oil  on  a  piece  of  chamois,  or  with  a  little  sub¬ 
nitrate  of  bismuth,  rubbed  in  with  the  hand. 

The  horns,  thus  polished,  can  be  either  etched  on, 
which  is  done  by  coating  them  with  wax,  scratching  out 
the  design,  and  then  pouring  acid  and  Avater  over  the 
whole  or  they  can  have  designs  painted  on  them  in  oil 
colors,  or  they  can  be  decorated  with  ink  or  stain  of  no 
appropriate  color.  In  the  latter  case,  the  design  should 
be  cut  lightly  in  the  horn  with  a  very  small  V  tool,  and 
the  groove  thus  made  filled  with  ink  or  stain  by  means 
of  a  camel’s  hair  brush. 

Prepared  for  powder  flasks  they  would  add  an 
important  item  to  the  woefully  short  list  of  presents 
really  useful  and  appropriate  for  gentlemen.  A  wooden 
plate  should  be  fastened  into  the  bottom  of  the  horn,  and 
a  stopper  more  or  less  ornamental  to  the  upper  end, 
which  would  have  to  be  sawed  off  a  short  distance  from 
the  tip.  A  worker  in  metals  could  doubtless  fasten  on 
one  of  the  patent  tops  now  generally  used  on  powder 
flasks.  A  string  should  be  fastened  to  either  end 
sufficiently  long  to  permit  of  the  flask  being  worn  sus¬ 
pended  over  the  shoulder.  Either  simply  polished  or 
ornamented  with  some  of  the  ancient  Celtic  or  those 
designs  to  be  found  in  books  on  antiquities,  this  would 
form  a  charming  gift, 


AND  HOW  TO  USE  THEM. 


141 


Horn  can  be  stained  to  imitate  tortoise  shell  as 
follows:— 

Mix  an  equal  quantity  of  quicklime  and  red  lead,  with 
strong  soap  suds  or  a  solution  of  potash.  Be  very  care¬ 
ful  in  using  this  mixture  as  it  will  burn  your  hands 
or  clothes.  Lay  it  on  with  a  small  brush,  imitating  the 
mottling  of  real  tortoise  shell.  Give  the  horn  several  coats 
of  this,  letting  it  dry  between  each  application.  Then  lay 
it  for  a  few  hours  in  vinegar  and  alum,  wash  it  in  clear 
water  and  polish.  I  have  not  tried  it,  but  I  fancy  this 
horn  so  treated  might  be  used  for  inlay  work  on  pax>ier 
macke  in  the  same  way  that  was  described  for  mother  of 
pearl.  In  connection  with  a  tasteful  use  of  gilding,  very 
handsome  articles  could  be  made  in  this  way. 


REPOUSSEE  WORK 


One  of  the  latest  fashions  in  decoration  art  is  for  ham¬ 
mered  metal  work.  Like  most  of  our  present  decoration 
it  is  hut  an  old— a  very  old — fashion  revived.  Benvenuto 
Cellini,  who  lived  early  in  the  sixteenth  century,  did 
much  to  develope  this  art  in  its  various  branches. 

To  the  uninitiated  the  idea  of  hammering  metals  does 
not  seem  very  attractive,  for  it  looks  like  very  hard 
work.  But  such  is  not  the  case.  The  sheet  brass  which 
is  principally  used  comes  in  a  great  many  degrees  of 
thickness,  some  of  it  being  very  thin.  Many  of  the 
sheets  can  readily  be  sawed  by  the  fret  saw  into  the 
desired  shapes,  the  embossed  or  repouss£e  pattern  being 
then  hammered  in. 

The  materials  for  this  work  are  some  pieces  of  sheet 
brass,  preferably  thin,  a  tool  called  a  tracer,  a  chaser’s 
hammer  and  one  or  more  grounding  tools.  The  brass  is 
sold  by  weight  at  about  thirty-five  cents  a  pound,  the 
tools  twenty  to  thirty  cents  each.  A  piece  of  smooth 
board  is  also  needed,  and  a  few  screws. 

Before  beginning  to  work  at  a  pattern,  it  is  absolutely 
essential  to  learn  to  use  the  tracer  well.  Metal  work  dif¬ 
fers  from  most  other  kinds  of  decoration  in  this 
one  thing,  it  is  almost  impossible  to  rectify  a  wrong 
stroke.  Take  some  scraps  of  brass — those  left  after 
sawing  out  a  plaque  or  bellows  cover,  or  whatever  other 
object  you  may  intend  working-and  having  drawn  straight 

142 


AND  HOW  TO  USE  THEM.  143 

find  curved  Hues  on  it  with  a  soft  black  lead  pencil,  go 
over  these  lines  with  your  tracer,  holding  the  latter  per¬ 
pendicularly  and  giving  it  a  gentle  tap  with  the  hammer. 
To  prevent  your  brass  wabbling  it  is  best  to  screw  it  by 
the  corners  to  a  board.  In  cutting  out  objects  to  be 
decorated  it  is  necessary,  generally,  to  leave  a  margin, 
not  only  for  the  screws,  but  to  leave  space  for  the  mount¬ 
ing  when  necessary.  At  first  you  will  find  the  lines  you 
trace  to  be  anything  but  lines  of  beauty,  but  as  you 
proceed  you  will,  with  care,  improve  The  traced  line 
should  be  continuous,  never  showing  any  marks  of  the 
tracer  having  been  taken  up  and  put  down  again.  The 
first  tracing  should  be  very  gently  done,  so  as  to' make  a 
very  faint  outline-  In  embossing  a  pattern,  the  outlines 
have  to  be  gone  over  again  and  again  at  different  times. 
A  thoroughly  well-drawn  pattern  is  essential  in  this 
work.  You  can  either  copy  it  on  the  brass  with  a  lead- 
pencil  or  transfer  it  by  means  of  tracing  and  transfer 
papers  Be  sui’e,  however,  before  you  begin  work  that 
every  line  is  accurate.  Having  traced  all  the  outlines 
very  faintly  with  your  hammer  and  tracer,  you  are  now 
ready  for  the  grounding.  Your  brass  must  be  well 
screwed  down,  being  sure  that  you  have  it  very  smooth. 
Your  grounding  tool  shouldbe  an  eighth  or  a  tenth  of  an 
inch  in  diameter  at  the  working  end,  which  should  be 
roughened  like  a  seal.  Go  over  the  whole  of  the  back¬ 
ground  with  this  tool,  holding  it  perpendicularly  and 
striking  lightly.  Work  from  your  outline  edges  outward 
in  all  directions,  trying  to  keep  your  work  equal — that  is, 
to  not  hammer  too  long  on  one  side  of  your  pattern 
before  going  to  the  opposite  side  Heglect  of  this  pre¬ 
caution  will  give  your  work  an  unsymmetrical  look  which 
no  subsequent  tinkering  will  remedy.  Hammer  lightly 
at  first.  Heavy  blows  will  be  apt  to  result  in  breaking 
the  brass.  As  you  hammer  you  will  see  your  pattern 
gradually  coming  out  in  relief.  When  the  embossing  is 


144 


NEEDLES  AND  BRUSHES 


sufficiently  prominent,  unscrew  your  work,  and  take  it  to 
a  worker  in  metals,  who  will  mount  it  in  a  narrow, 
strong,  brass  frame  A  jeweler  would  probably  be  able 
to  do  this  himself  or  could  get  it  done  for  you. 

Tnis  repoussee  work  can  be  applied  to  many  uses. 
Plaques  or  platters,  ornamental  false  hinges,  keyhole 
plates,  bellows  covers,  panels  and  picture  frames,  and  a 
large  variety  of  other  articles  of  household  use  or  home 
decoration,  can  all  be  easily  made  when  the  rudiments  are 
once  thoroughly  learned.  Cups  can  be  made  by  working 
the  brass  flat  and  having  it  made  up  and  a  bottom  put  in 
by  a  tinsmith.  The  patterns  should  be  bold  and  conven¬ 
tional.  Petty  work,  always  inartistic  is  peculiarly  out 
of  place  on  metals. 

To  polish  brass,  the  best  way  probably  is  to  rub  it 
thoroughly  with  rotten  stone  or  tripoli  and  turpentine, 
finishing  it  off  with  chamois  leather  and  oil.  In  your 
designs  avoid,  in  the  beginning,  any  unnecessary  inside 
lines.  The  simple  outlines  of  a  bird  or  fish  are  very 
striking  and  arabesque  designs  have  an  excellent  effect. 

For  the  benefit  of  those  who  aspire  to  more  elaborate 
work  on  heavier  metal.  I  will  quote  the  directions  given 
by  Mr.  Leland,  who  was  the  pioneer  in  the  revival  of 
this  art  in  both  America  and  England.  Amateurs  owe 
him  a  debt  of  gratitude  for  the  invention  of  the  mode 
described  above  of  hammering  thin  brass.  Formerly  the 
only  way  known  of  doing  respoussee  work  was  by  the 
use  of  the  pitch  bed  described  in  the  following  extract. 

“You  will,  as  you  use  thicker  sheets,  wish  to  hammer 
sometimes  from  the  back  into  the  raised  patterns,  either 
to  produce  a  deeper  relief,  or  to  smoothe  and  correct 
inequalities.  For  this  purpose  you  must  make  a  bed  of 
so-called  pitch  or  composition,  which,  when  hard,  yields 
only  gradually  under  the  hammer.  You  have  already 
learned  that  in  hammering  on  a  soft  pine  board,  it  was 
necessary  to  work  on  some  basis  which  resisted  while  it 


and  how  to  use  them. 


145 


yielded.  But  the  fibrous  structure  of  the  wood  onr 
permits  a  certaiu  decree  of  yielding.  To  obtain  a  deep 
relief,  something  must  be  used,  which,  while  it  resists 
somewhat,  or  is  difficult  to  penetrate,  must  also  be  grad¬ 
ually  penetrable  to  almost  any  extent.  For  this  purpose 
make  a  bed  of  brick  dust,  or  plaster  of  Paris,  fine  sand 
or  ashes,  or  even  dust,  which  is  to  be  thoroughly  mixed 
with  pitch  (or  rosin),  in  equal  parts  with  the  dust,  and  a 
very  little  tallow  or  turpentine.  Those  who  supply 
jewelers’  tools  generally  keep  this  composition  for 
sale,  at  twenty-five  cents  a  pound,  in  cakes.  When  the 
brass  is  laid  on  a  bed  of  this,  it  can  be  indented  very 
easily  on  either  side,  and  by  turning  alternately.  If  you 
have  a  sheet  of  brass  or  thin  silver  cup  or  plate  or 
goblet,  or  salver,  you  can  fill  it  with  the  melted  pitch,  or 
“back  it,”  and  can  then  work  easily  on  the  outside.  If 
you  wish  to  raise  a  bunch  of  grapes  an  inch  or  two 
inches,  you  must  hammer  them  out  from  the  inside ,  and 
then,  to  finish  the  work,  turn  it  again,  and  execute  the 
more  delicate  parts  from  the  outside.  ****** 
It  is  advisable,  after  preparing  the  bed  of  pitch,  to  give 
it  the  thinnest  possible  coat  of  oil.  This  causes  the  metal 
to  work  better  on  it.  If  there  is  too  much  oil  it  will  not 
adhere.  It  is  often  necessary  in  heavy  metal  and  in 
working  deep  relief,  to  anneal  the  work.  This  is  effected 
by  placing  it  in  an  oven  bed  of  coals  till  it  becomes  soft — - 
not  in  the  least  melted,  however,— and  then  removing 
it  very  carefully  with  pincers  or  pliers.  It  was  with 
such  |)incers,  usually  confounded  with  tongs,  that  Saint 
Dunstan, 

“  As  the  story  goes, 

Once  took  the  clevil  by  the  nose,” 

while  the  Saint  was  annealing  metal.  Whoever  has 
annealed  knows  how  vexing  it  is  to  be  interrupted  just 
at  the  critical  moment,  and  the  Evil  One,  knowing  this> 


146 


NEEDLES  AND  BRUSHES 


chose  that  time  to  provoke  the  Saint  to  unsain  tly  anger. 
Saint  Dnnstan,  or  as  the  French  say,  Saint  Eloy,  instead 
of  giving  way  to  wrath,  calmly  took  Satan  by  the  nose, 
drawing  it  out  to  the  great  length  wliicb  it  has  since 
had,  and  destroying  the  last  trace  of  beauty  in  the  fallen 
angel.  The  story  was  intended  to  teach  all  workers  in 
brass  and  other  metals,  that  they  must  be  very  patient, 
especially  in  annealing.  Annealing  oxidizes  and  softens 
the  metal.  While  hammering  cold  sheet  brass,  the  oft 
repeated  blows  harden  the  metal  and  cause  brittleness. 
This  brittleness  is  removed  by  annealing,  which  restores 
the  original  ductility  or  softness.  After  working,  the 
metal  must  be  cleaned  by  boiling  it  in  sulphuric  acid, 
mixed  or  diluted  with  from  six  to  twelve  parts  of  water. 
With  thin  sheets  of  good  metal,  annealing  for  amateurs 
will  not  be  necessary  when  making  basso-relievos,  or  very 
low  relief.  ” 

Sheet  silver  can  be  worked  in  the  same  way  as  brass. 
A  napkin  ring  or  a  bangle  bracelet  can  thus  be  made 
by  an  amateur.  The  most  workmanlike  way  would  be 
to  procure  the  circlet  ready  joined,  and  work  it  on  a 
wooden  block  wrapped  with  paper  to  make  it  fit  tightly, 
or  else  to  fill  it  with  “  pitch  ;  ”  or  it  can  be  worked  flat 
and  afterwards  made  up  by  a  jeweler,  who  will  also 
solder  up  any  little  holes  you  may  have  made.  Often  the 
ground  of  beaten  silver  will  turn  black  with  time,  but 
this  adds  to  its  beauty  by  bringing  out  the  work  in 
stronger  relief. 

Simple  designs  may  also  be  engraved  on  silver  by 
the  amateur.  The  work  is  done  with  a  graver  simi¬ 
lar  to  that  used  by  a  wood  engraver.  Practice  on  a 
piece  of  zinc,  cutting  perfectly  straight  lines,  cutting 
them  lightly  or  more  deeply  at  will.  Vary  this  with 
curves  and  spirals. 

Metals  may  also  be  etched.  The  directions  given 
by  the  author  already  quoted,  are  as  follows  : 


AND  HOW  TO  USE  THEM. 


147 


“  Cover  the  metal  with  varnish ;  let  it  dry,  and 
then  draw  your  pattern  with  a  sharp  point— say,  a 
needle — simply  removing-  the  varnish  and  exposing 
just  so  much  of  the  metal  as  you  wish  to  show 
black  lines.  Put  strips  of  wax  around  the  metal, 
and  then  pour  on  it  a  mixture  of  one  part  of  acid 
to  three  of  water.  Brush  away  the  bubbles,  as  they 
gather,  with  a  feather,  or  the  lines  will  be  very 
ragged.  Then  pour  out  the  acid  and  water  and 
wash  away  all  the  varnish  with  turpentine.  Then 
you  will  find  your  drawing  engraved  on  the  shining 
surface.” 

As  one  proceeds  in  hammering  brass,  there  will  be 
an  ever  increasing  demand  for  new  tools,  to  fit  into 
the  corners  and  twists  of  the  design,  or  to  produce 
a  given  effect  in  the  grounding.  If  bought,  these 
will  cost  a  considerable  sum,  but  they  can  easily  be 


Fig.  8 ft. 


manufactured  at  home  from  square  steel  rod,  or 
wire,  sold  at  the  tool  shops  for  this  purpose.  Cut 


148 


NEEDLES  AND  BRUSHES 


this  into  pieces  about  four  inches  long’  by  means  of 
a  triangular  file.  Thin  both  ends  a  little,  and  by 
means  of  a  file  form  surface  of  one  end  into  the 
shape  required,  square,  convex,  gouge-shaped,  etc. 
Harden  it  by  heating  to  a  yellow  heat  and  dip  into 
oil  or  water. 


Fig.  36. 


Sectional  patterns  are  given  for  small  waiters,  or 
plaques.  A  fine  collection  of  designs  by  Mr.  Leland 
by  the  Art  Interchange,  have  been  published  which 
will  be  of  great  service  to  those  pursuing  this  art. 

It  should  be  added  that  all  lines  inside  the  design 
should  be  worked  before  the  ground  is  hammered, 
as  the  brass  cannot  be  worked  after  it  has  been 
hqnunered  into  relief. 


AND  HOW  TO  USE  TEEM. 


149 


In  Fig.  37,  is  a  border  which  can  be  adapted  to 
several  uses. 


TO  TRANSFER  PATTERNS. 


There  are  several  ways  iu  which  designs  may  be 
transferred  to  the  material  on  which  they  are  to  be 
worked.  The  first  and  easiest  method  (short  of  drawing 
it  free  hand)  is  by  means  of  tracing  and  transfer  paper, 
both  of  which  can  be  obtained  from  an  artist’s  materials 
store.  Tracing  paper  can  be  made  as  follows: 

Lay  the  sheets  to  be  prepared  flat  on  each  other,  and 
spread  varnish  made  by  dissolving  Damara  resin  in 
spirits  of  wine  over  the  uppermost  sheet  by  means  of  a 
brush,  until  the  paper  appears  perfectly  colorless  with¬ 
out,  however,  the  liquid  therein  being  discernible.  The 
flrst  sheet  should  then  be  hung  up  to  dry,  and  the  re¬ 
mainder  treated  the  same  way.  Rather  tough,  smooth 
paper  should  be  used  for  this  purpose.  A  good  supply  of 
this  is  very  useful  for  any  one  who  does  much  decoration 
work  whether  with  needle  or  brush,  as  hints  and  ideas 
can  be  hastily  traced  and  thus  preserved  for  future  use 
by  those  who  have  not  the  time  to  copy  a  design,  nor  the 
skill  to  sketch  if  quickly. 

Having  traced  the  design,  place  it  on  the  object  to 
which  it  is  to  be  transferred,  fastening  it  securely  in 
place  with  pins  or  thumb  tacks.  Now  take  a  piece 
of  transfer  paper,  it  need  not  be  large,  and  place  it 
150 


A  ED  HOW  TO  USE  TEEM.  151 

color  side  down,  between  the  tracing  paper  and  the 
material  to  be  stamped.  Go  over  the  lines  of  the  design 
with  a  sharp  pointed  hard  lead  pencil,  a  dull  stiletto,  or 
some  similar  utensil.  Slip  your  transfer  paper  along  so 
as  to  go  over  evei'y  line  of  the  design.  Before  removing 
the  thumb  tacks  entirely,  lift  the  tracing  paper  and  ex¬ 
amine  whether  the  design  has  been  thoroughly  trans¬ 
ferred. 

In  using  transfer  paper  be  careful  about  using  a 
new  piece  on  handsome  goods  as  the  color  comes  off  in 
undesirable  places. 

When  possible,  it  is  far  better,  however,  to  draw  your 
pattern  directly  on  the  material,  sketching  it  at  first 
lightly  and  when  all  is  correct,  going  over  the  lines  with 
either  India  ink,  or  with  a  common  pen  and  ink. 

For  very  handsome  material,  it  is  safer  and  more  con¬ 
venient  to  have  the  stamping  done  by  those  who  make  a 
business  of  it.  As  there  are  some,  however,  who  cannot 
conveniently  have  this  done,  I  will  give  another  method 
called  pouncing.  Having  drawn  or  transferred  the 
pattern  on  to  stiff  drawing  paper,  prick  the  outlines 
carefully  with  a  sharp  knitting  needle,  or  stiletto  or  stitch 
it  on  the  machine,  using  a  rather  coarse  needle.  Then  hav¬ 
ing  very  carefully  and  firmly  fastened  it  in  position,  brush 
flour,  or  starch  (if  the  ground  be  dark),  or  powdered 
bluing,  or  artists’  charcoal  over  the  lines.  It  can  be  put 
on  with  a  soft  brush  or  flannel  pad.  Bemove  the  pattern 
carefully,  and  go  over  the  lines  with  a  fine  paint  brush, 
or  stiff  pen  with  India  ink  or  some  suitable  water  color. 
If  the  latter  is  used  a  little  gum  in  the  water  used  for 
mixing  the  color  will  ensure  you  against  the  rubbing  out 
of  the  lines.  Brush  off  the  superfluous  powder  and  your 
pattern  is  secure. 

Designs  can  be  easily  enlarged  in  this  way. 

Cut  a  piece  of  paper  the  size  of  the  space  to  be 
decorated,  preserving  the  proportion  between  length  and 


152 


NEEDLES  AND  BRUSHES 


breadth.  Mark  this  off  with  perpendicular  and  hori¬ 
zontal  lines.  Divide  the  pattern  by  an  equal  number 
of  lines,  and  you  will  find  it  easy  to  copy  the  whole  on 
the  larger  piece  of  paper.  If  done  carefully,  the  propor¬ 
tion  of  each  part  will  be  maintained. 


NETTING, 


Like  many  other  kinds  of  fancy  work,  netting  is  just 
now  coining  into  fashion.  Our  grandmothers  netted,  as 
our  mothers  tatted,  industriously,  netting  boxes  and 
stirrups  being  as  familiar  a  sight  then  as  the  tatting 
shuttle  was  some  fifteen  years  ago,  and  as  the  crewel  and. 
silk  cases  are  now.  It  is  a  work  that  can  be  applied  to 
a  great  variety  of  purposes,  from  curtains  down  to  fichus 
or  breakfast  caps.  Guipure  d’art  which  is  worked  on 
netted  squares  has  always  been  in  favor,  but  its  seeming 
difficulty  has  deterred  many  from  attempting  to  make  it. 
The  following  directions  for  plain  and  fancy  netting  and 
for  making  Guipure  stitches  are  made  as  plain  as  possi¬ 
ble,  and  will  be  found  easy  to  follow  when  the  manner 
of  forming  the  netting  stitch  has  been  once  mastered. 
This  can  be  learned  from  the  directions,  but  is  much 
more  easily  learned  in  a  lesson  from  one  who  understands 
netting. 

You  will  need  for  this  work,  a  netting  needle,  a  mesh, 
and  twine,  cotton,  or  linen  thread.  Formerly,  the  net¬ 
ting  was  fastened  to  a  braid  or  ribbon  loop,  called  a 
stirrup  from  its  being  held  on  the  foot,  but  a  more  con- 
158 


154 


NEEDLES  AND  BRUSHES 


venient  and  much  prettier  way  is  to  have  a  lead  cushion 
or  sewing  bird  for  securing  the  loop.  Some,  however, 
pin  it  to  the  knee,  as  in  sewing.  For  beginning  I  would 
advise  some  twine  or  coarse  knitting  cotton,  as  is  it  very 
much  easier  to  learn  anything  in  coarse  materials,  where 
the  details  can  be  easily  seen. 

A  wooden  netting  needle  is  generally  used  for  coarse, 
and  steel  ones  for  finer  work. 


When  a  very  small  mesh  is  used,  a  long  blunt  darning 
needle  must  be  employed  as  the  filled  netting  needle 
would  not  pass  through  the  loops.  The  meshes  are  made 
of  boxwood,  bone,  and  ivory;  they  can  be  either  round 
or  flat.  Knitting  needles  of  various  sizes  in  these  mater¬ 
ials.  make  good  meshes,  steel  ones  being  employed  for 
fine  work.  Pieces  of  whalebone  cut  to  the  requisite 
width  make  good  meshes.  The  size  of  mesh  and  cotton 
must  be  adapted  to  each  other  so  as  to  give- -the  -work 
just  the  right  appearance,  neither  too  open  nor  too  close. 


AND  HOW  TO  USE  THEM. 


155 


To  begin  work,  take  a  piece  of  thread  of  the  same  size 
you  are  going  to  use  in  netting,  tie  it  in  a  loop  of  three  or 
four  inches  long  and  fasten  it  with  a  pin  to  your  cushion, 
or  knee.  Then  unwinding  two  or  three  lengths  from  your 
needle,  tie  the  end  securely  to  this  loop.  Take  the 
needle  in  the  right  hand  and  the  mesh  in  the  left;  hold 
the  latter  horizontally  between  the  thumb  and  forefinger. 
Lay  the  working  thread  over  the  mesh  downwards  round 
the  middle  finger  of  the  left  hand  (Fig.  38),  and  then 
between  the  mesh  and  the  forefinger,  a  little,  towards  the 
left,  where  the  left  thumb  encloses  the  thread,  and  by 
that  means  the  loop  held  round  the  mesh  and  finger  is 
firmly  held;  then  the  needle  is  carried  again  towards  the 
right,  and  pushed  from  underneath  through  the  thread- 
loop  lying  round  the  left  hand,  forming  a  wide  scallop  with 
the  thread;  then  the  needle  is  placed  under  the  loop,  and 
between,  the  finger  and  mesh  again  through  the  foun¬ 
dation  stitch  ;  keeping  the  left  hand  quite  still,  draw  the 
needle  quite  through  with  the  right  hand,  dropping  the 
loop  off  the  fingers  one  by  one,  the  little  one  being  the 
last  to  release  the  loop,  drawing  the  knot  to  the  top  of 
the  mesh  with  the  right  hand.  Make  as  many  foundation 


Fig.  39. 

stitches  as  your  work  requires,  take  the  mesh  carefully 
out,  turn  the  work  and  proceed  as  before,  putting  the 
needle,  at  each  stitch  successively  Jnto  a  stitch  of  the 


166  NEEDLES  AND  BRUSHES 

preceding  row.  Practice  will  soon  enable  you  to  ma«£€! 
your  stitcbes  of  a  uniform  size.  The  stitch  here  described 
is  the  one  ordinarily  used  and  is  called  Janliug 
netting.  To  work  round  netting,  put  the  needle  through 
the  loop  without  changing  the  place  of  the  finger  or  loop, 
turn  the  needle  round  and  put  it  into  the  stitch  of  the 
preceding  line  from  above  downwards,  as  shown  by  the 
arrow  in  Fig.  39. 

The  working  thread  must  remain  on  the  right  hand  of 
the  needle,  and  the  stitch  is  then  drawn  up  in  the  usual 
manner. 


Fig.  40. 


For  loop  netting,  work  two  rows  of  ordinary  netting. 
In  the  third  row  work  two  stitches  into  one,  twist  the 
thread  twice  round  the  mesh.  Kepeat  for  the  required 
length. 

4th  row:  Work  two  loops  into  the  long  stitches  of  the 
last  row,  tw'ist  the  thread  twice  round.  Kepeat  to  the 
end  of  the  row,  and  continue  working  only  the  fourth 
row. 

Figure  41  is  for  working  diamonds  in  round  netting. 
The  number  of  stitches  for  each  diamond  is  five  and  one 
over  at  the  end. 


and  how  to  use  THEM.  157 

1st  row:  Work  your  stitclies  as  described  for  round 
netting.  Work  one  long  stitch  by  twisting  the  thread 
twice  round  the  mesh.  Eepeat  for  the  length  required. 


Fig.  41. 


2nd  row:  Two  long  stitches,  three  round  stitches, 
one  long  stitch  into  centre  of  first  long  stitch,  one  long 
stitch  into  next  round  stitch.  Eepeat  from  * 

3rd  row:  One  long  stitch*  two  round  stitches,  one  long 
stitch  into  next  long  stitch,  one  round  stitch  into  next 
long  stitch,  one  long  stitch  into  next  round  stitch. 
Eepeat  from  * 

4th  row:  Two  round  stitches,  one  long  stitch,  one 
round  stitch,  one  long  stitch.  Eepeat  from  beginning 
of  row. 

5th  row:  One  round  stitch,*  two  long  stitches,  three 
round  stitches.  Eepeat  from  * 

6th  row :  Three  round,  *  one  long,  four  round.  Eepeat 
from  * 

7th  row:  One  round,  *  two  long  three  round.  Eepeat 
from  *  ' 

9th  row:  One  long,  two  round,  one  long,  one  round. 
Eepeat  from  the  beginning  of  the  row. 

10th  row:  Two  long,  three  round.  Eepeat. 

This  completes  the  diamond.  Eepeat  the  ten  rows 
until  your  netting  is  large  enough. 


158  NEEDLES  AND  BRUSHES 

An  extremely  pretty  edging  (Fig.  42 )  is  worked  aS 
follows: 

Work  two  rows  of  plain  netting. 

3rd  aow:  Work  three  stitches  into  one  of  the  previous 
row,  one  stitch,  one  stitch  into  each  of  the  successive 
stitches.  Repeat  throughout  the  row. 

4th  row:  Plain,  working  through  the  clusters  of  three 
stitches  together  as  one  stitch. 

5tli  row:  Plain. 

6th  row:  Like  third  row,  working  the  clusters  of 
stitches  between  those  of  third  row. 

7th  row:  Like4tb. 


Fig.  43. 


8th  row:  Work  into  two  stitches  together  below  the 
clusters  of  sixth  row,  work  one  into  all  the  other 
stitches. 

9th  row:  Work  over  a  mesh  rather  more  than  half  an 
inch  in  width  four  stitches  into  one  stitch  of  last  row, 
pass  over  three  stitches  and  repeat. 

10th  row:  With  the  mesh  first  used,  work  one  stitch 
into  each  of  the  four  worked  into  one  stitch,  take  the 
next  loop,  pass  it  through  the  centre  of  the  three  stitches 


AJSD  HOW  TO  USE  TEEM.  159 

passed  over  iii  the  previous  row,  work  oue  stitch  into  it. 
Repeat  from  the  beginning  of  the  row. 

The  manner  of  passing  the  long  loop  through  the 
centre  of  the  three  stitches  is  clearly  shown  by  the  thin 
line  in  the  pattern. 

This  pattern  is  very  pretty  for  edging  a  scarf  for  the 
neck.  It  should  be  worked  in  rather  flue  linen  thread. 

CROSS  NETTING. 

1st  row:  Plain  netting. 

2nd  row;  Net  alternately  one  long  and  one  common 
stitch.  j 

3rd  row:  Work  entirely  in  short  stitches  which 
naturally  draw  unevenly. 

4th  row:  Consists  alternately  of  long  and  short 
stitches,  but  instead  of  working  them  in  the  usual 'way 
draw  a  stitch  of  the  last  row  through  the  long  loops  of 
the  second  row  and  net  it;  continue  to  work  a  long  and 
short  stitch  alternately  in  this  way  through  the  row. 
Repeat  the  third  and  fourth  rows  alternately. 

STAR  NETTING. 

Cross  and  star  netting  very  much  resemble  each  other; 
after  working  the  cross,  little  difficulty  will  be  found  in 
working  the  star  netting. 

1st  row:  One  double  and  one  plain  stitch  alternately, 
using  a  knitting  needle  mesh. 

2nd  row:  Net  plain  with  a  mesh  one  third  of  an  inch 
wide. 

3rd  row:  Draw  one  stitch  of  second  row  through  long 
loop  of  first  row,  net  it  again  with  a  short  stitch,  draw 
the  next  loop  through  the  same  long  loop  of  first  and 
net  it  with  a  long  stitch  (i.e.  cotton  twice  round  the 
mesh)..  Repeat  the  second  and  third  rows  for  length 
required.  - 


160 


NEEDLES  AND  BRUSHES 


ROSE  NETTING. 

This  pretty  stitcli  seems  a  little  complicated  at  first, 
but  by  following  the  directions  exactly  it  can  be  easily 
worked.  Two  meshes  are  needed  for  this  pattern,  bear¬ 
ing  to  each  other  the  same  proportion  that  a  coarse  knit¬ 
ting  needle  would  to  a  mesh  one  third  of  an  inch 
wide. 

1st  row:  Net  plain  over  the  wide  mesh. 

2nd  row:  Net  over  the  small  mesh  thus:  First  draw 
the  first  long  looj)  through  the  second  and  net  it,  then 
draw  the  second  through  the  first  and  net  it. 


Fig.  43. 

(Fig.  43.)  shows  rose  netting  with  ribbon  velvet  run 
in  at  each  fifth  pattern  and  the  intermediate  rows  are 
darned  with  colored  silk. 

HONEYCOMB  NETTING 

An  even  number  of  stitches  is  needed  for  this  pat 
tern. 


AND  IIOW  TO  USE  THEM. 


161 


1st  row:  Plain  netting. 

2nd  row:  Net  the  second  stitch,  then  the  first,  next 
the  fourth,  then  the  third  and  so  on  throughout  the  row. 

3rd  row:  Plain. 

4th  row:  Net  a  plain  stitch;  begin  the  pattern  by  net¬ 
ting  first  third  stitch,  then  the  second,  next  the  fifth, 
then  the  fourth,  end  with  a  plain  stitch  and  continue  to 
the  end  of  the  row.  Repeat  from  the  first  row. 


Fig.  44. 

Fig.  44  is  a  very  pretty  border  combining  the  last  two 
patterns  with  plain  netting.  The  rows  of  honeycomb 
are  alternately  of  fine  and  coarse  material,  or  of  silk  and 
wool,  in  order  to  bring  out  the  pattern.  The  scallop 
l>attern  is  worked  with  heavy  silk  doubled  or  trebled. 

1st  row:  Plain  netting  with  small  mesh. 

2nd  row :  Workiour  plain  stitches,  work  four  loops  into 
the  fifth  stitch.  Repeat  to  the  end  of  the  row. 

3rd  row:  Work  three  plain,  work  the  clusters  of  two 
loops  together.  Repeat  from  beginning  of  the  row. 

4th  and  5th  rows:  Plain. 

6th  row:  Like  second  row,  beginning’  with  two  plain 
stitches  to  alternate  the  position  of  the  clusters. 


NEEDLES  AND  BRUSHES 


7 tli  row:  Like  third  row,  working  the  clusters  in  tlieir 
proper  places. 

8tli  and  9tli  rows:  Plain. 

Five  rows  of  honeycomb  pattern  are  now  to  be  worked. 

Work  three  rows  plain  netting.  Two  patterns  of  rose 
netting;  and  for  the  edge  one  row  a  larger  mesh  and  the 
two  strands  of  the  working  material. 

In  making  joins  in  the  thread,  as  when  refilling  the 
needle,  or  if  in  silk  netting  the  colors  are  varied,  always 
manage  to  have  the  knot  come  at  the  outer  edge.  Tie  a 
firm  flat  knot. 

Netting  is  darned  by  passing  the  needle  under  and 
over  the  stitches  of  the  foundation  about  five  times, 
taking  care  to  follow  the  lines  of  the  pattern.  The  silk, 
cotton  or  thread,  used  in  darning  must  be  of  a  size  pro¬ 
portioned  to  that  used  in  the  netting. 

Round  netting  as  for  purses,  etc ,  is  worked  by  pass¬ 
ing  the  needle  through  the  first  stitch,  while  keeping  the 
last  three  or  four  on  the  mesh,  moving  the  mesh  as  the 
work  requires. 

VANDYKE  NETTING. 

Make  one  loop  on  foundation;  net  two  loops  in  this. 
Increase  one  loop  in  every  row  until  there  are  five  loops 
in  a  row.  Then  increase  at  the  end  of  every  alternate  row 
until  there  are  nine  loops  in  the  row,  taking  particular 
care  to  always  increase  on  same  side  of  the  work. 

In  the  uext  row  leave  four  loops  unworked  on  the  side 
which  lias  not  been  increased,  work  the  other  five  loops 
and  repeat. 

FLY  NETTING. 

Wind  on  the  needle  a  strand  of  wool  and  one  of  silk, 
so  that  they  will  unwind  together.  Net  as  with  a  single 
thread,  and  when  the  netting  is  done,  cut  the  woolen 
thread  round  every  knot,  fluff  it  up  so  as  to  conceal  the 
knot  and  make  a  little  ball.  Be  very  careful  not  to 


AND  HOW  TO  USE  THEM. 


1G3 


fcut  the  other  thread.  This  is  very  useful  for  neckties, 
head  dresses,  etc. 

NETTED  HAIR-NET. 

This  net  may  he  made  either  of  chenille,  silk,  or  fine 
braid,  with  a  mesh  half  an  inch  in  width. 

Net  eight  loops  on  a  foundation,  then  net  sixteen 
rows;  these  will  count  perpendicularly  eight  diamonds; 
cut  the  netting  from  the  foundation,  but  do  not  cut  off 
the  material  you  are  netting  with;  pick  out  the  knots; 
tie  a  loop  of  cotton  into  the  centre  of  the  square,  by 
which  to  pin  it  to  the  table ;  now  net  round  this  square 
eight  rows  or  four  diamonds,  counted  perpendicularly; 
the  net  is  then  complete,  but  more  rows  may  be  worked 
if  preferred.  An  elastic  is  run  through  the  last  row  of 
holes.  The  net  is  ornamented  at  the  top  by  a  double 
bow  and  ends  of  ruby  satin  ribbon. 

DIAMOND  PATTERN. 

Fig.  45  is  a  very  useful  pattern  for  stripes  for  tidies, 
shawls,  etc.,  and  may  also  be  used  in  place  of  drawn 
Work  in  bureau  and  side-board  scarves. 

1st  row :  Plain. 


Big.  46. 

2nd  row:  Work  two  loops  into  a  stitch,  draw  the  next 
loop  rather  longer,  and  repeat  to  end  of  row. 


164 


NEEDLES  AND  BRUSHES 


3rd  row:  One  stitch  into  each  loop  of  last  row. 

4th  row:  Work  a  stitch  through  two  loops  together  or 
under  the  two  loops  worked  into  a  stitch  in  the  second 
row.  Eepeat  to  the  end  of  the  row.  The  double  loops 
are  worked  across  with  needle  and  thread  as  shown  in 
the  upper  part  of  the  cut. 

ROSE  AND  SHEAF  PATTERN. 


Fig.  4(i. 

With  a  fine  bone  knitting  needle  for  a  mesh,  work 
three  rows  in  plain  netting. 

4th  and  5tli  rows:  Rose  netting. 

6th  and  7th  rows:  Plain. 

8th  row:  Fill  a  netting  needle  with  a  three-fold  strand 
of  thread,  that  is  winding  from  three  spools  at  once,  and 
with  a  mesh  a  little  more  than  an  inch  wide,  work  one 
stitch  into  each  loop. 

9th  to  11th  rows:  With  the  small  mesh  and  single  cot¬ 
ton  work  one  stitch  into  each  loop. 


165 


AND  HOW  TO  USE  THEM. 

12th  row:  With  double  cotton,  work  one  stitch  in 
round  netting  into  a  loop,  cotton  twice  over  the  mesh, 
pass  over  a  stitch  and  repeat. 

The  sheafs  are  caught  together  by  crochet.  Work  one 
double  over  three  triple  loops,  seven  chain  and  repeat. 

A  double  length  of  cotton  is  darned  in  a  straight  line 
above  and  below  the  two  rows  of  rose  pattern. 


T 


GUIPURE  D’ART. 


While  netting  has  rather  fallen  out  of  favor  of  late 
years,  the  beautiful  Guipure  d’Art  which  consists  of 
netted  squares  worked  with  various  ornamental  stitches 
is  as  much  admired  as  ever.  Although  looks  extremely 
difficult,  it  is  really  very  easy  of  execution,  and  fully 
repays  one  for  the  trouble  of  working.  The  popular 
word  “  effective  ”  so  much  in  vogue  now  is  very 
applicable  to  Guipure  netting,  drawn  work,  and Macrame 
lace,  all  of  which  are  really  very  easy  of  execution, 
in  spite  of  the  elegant  and  complicated  appearance  of 
the  Avork. 

For  this  work  a  frame  is  necessary  on  which  to  stretch 
the  netted  foundation.  This  should  be  made  of  strong 
wire  soldered  together,  and  can  be  made  by  a  tinsmith. 
It  should  be  lai'ge  enough  to  stretch  the  netting  tightly. 
For  insertion  or  edging,  an  oblong  frame  is  used.  The 
netting  is  generally  done  with  linen  thread,  which  must 
be  of  a  size  regulated  by  the  foundation.  A  commou 
darning  or  tapestry  needle  may  be  used  for  the  lace 
stitches.  Great  accuracy  is  essential  in  this  work,  as  a 
wrongly  placed  stitch  would  spoil  the  whole  effect.  It 
would  be  a  good  plan  to  practice  the  different  stitches 
given  on  a  square  which  can  be  kept  for  a  sampler. 


AND  HOW  TO  USE  THEM.  107 

The  square  is  netted  as  follows.  Begin  with  two 
stitches,  and  net  backwards  and  forwards,  always 
increasing  every  row  by  making  two  stitches  in  the  last 
stitch  of  the  row,  until  you  have  one  more  stitch  than 
the  number  of  holes  on  one  side  of  the  finished  square. 
Thus,  if  one  side  of  the  square  has  five  holes,  you  must 
net  six  stitches  on  the  mesh;  then  net  one  row  plain,  and 
then  decrease  at  the  end  of  every  row,  by  netting  the 
two  last  stitches  together  in  one  knot,  until  you  have 
only  two  stitches  left.  Join  these  together  with  one 
knot  in  the  middle,  not  making  a  stitch,  but  carrying 
the  thread  tight  across  to  the  joining  knots. 

Sometimes  the  pattern  calls  for  a  foundation  in  holes 
of  two  sizes.  This  is  formed  by  putting  the  thread  round 
the  mesh  twice  for  the  large  hole  and  once  for  the  small. 

In  working  the  different  stitches  given,  the  thread 
must  be  carried  alternately  over  and  under  the  netted 
threads;  the  work  must  be  uninterrupted,  and  the  thread 
fastened  with  a  firm  knot;  and  when  it  is  impossible  to 
pass  immediately  from  a  filled  up  part  to  the  next  hole 
of  the  netted  ground,  the  thread  must  be  wound  round 
the  threads  between  that  and  the  next  hole  to  be  worked 
as  carefully  as  possible,  so  as  to  be  almost  imperceptible. 

The  square  to  be  worked  must  be  tightly  stretched  in 
frame.  This  should  be  covered  with  ribbon  or  muslin  to 
which  the  netting  is  laced,  the  lacing  thread  passing 
through  the  double  edge  formed  by  the  increasing  and 
decreasing  stitches.  It  is>-  well  to  fasten  the  corners 
first,  as  that  makes  it  easier  to  draw  the  threads  perfect¬ 
ly  straight  and  true. 


168 


NEEDLES  AND  BRUSHES 


POINT  DE  REPRISE. 


Fig.  47. 


This  stitch  is  employed  in  almost  every  pattern;  it  is 
a  simple  darning  stitch.  The  illustration  shows  tlie 
manner  of  working  it.  The  holes  are  entirely  filled  up, 
threads  passing  alternately  over  and  under  the  working 
thread. 

POINT  DE  TOILE,  OR  TRELLIS  WORK. 


Fig.  48. 


In  working  this  stitch  great  care  must  he  taken  to 
make  the  threads  cross  each  other  evenly.  The  number 
of  threads  in  a  hole  must  be  regulated  by  the  size  of 
the  hole;  but  there  must  be  the  same  number  of  long 
and  cross  threads  and  the  numbers  must  be  even — 
two,  four,  six,  etc. ;  an  odd  number  of  threads  would 
spoil  the  work.  The  cut  shows  how  it  can  be  worked 
both  continuously,  and  when  holes  are  missed. 


AND  HOW  TO  USB  THEM. 


169 


POINT  D ’ESPRIT,  FESTOON  STITCH. 

This  stitch  needs  no  explanation,  the  illustrations 


Fig.  49. 


showing  the  inode  of  working  it.  It  admits  of  many 
variations  which  can  easily  be  copied  from  the  design. 
Sometimes  the  whole  ground  work  is  filled  in  with 
this  stitch. 


Fig.  50. 


Fig.  50,  gives  a  combination  of  point  d’esprit  and 
point  de  toile: 

POINT  CROISI,  CROSS  STITCH. 


Fig.  51. 

Fig.  51  shows  the  mode  of  working  a  crossed  thread 
with  a  tied  knot,  which  fastens  all  the  threads  at  the 


170 


NEEDLES  AND  BRUSHES 


crossing  point.  It  is  a  button-hole  stitch,  only  the 
stitch  is  put  in  over  instead  of  next  to  the  starting 
thread.  For  the  double  thread  cross  (Fig.  52)  stretch  the 
first  loose  thread  for  two  bars  of  the  cross  lying  near 


Fig.  52 

each  other,  then  return  as  far  as  the  middle  only. 
Twist  the  thread  round  the  latter,  from  here  going 
always  forwards  and  backwards  to  form  the  third  and 
fourth  bars;  then  unite  all  the  four  bars  by  one 
stitch,  and  then  twist  the  thread  a  few  times  round 
the  first  bar  with  a  single  thread  and  finish.  After 
uniting  the  cross-bars,  it  will  be  easy  to  make  a  little 
round  pattern  in  the  middle  by  drawing  the  thread 
round  the  cross. 

Fig.  53  shows  how  to  work  a  half  cross  stitch  in 
rows. 


Fig.  53. 


SPINNING  STITCH  AND  WHEELS, 

These  patterns  are  generally  worked  over  four  holes 
of  the  netted  square  at  the  crossing  point  of  the  cross¬ 
bars  stretched  across,  and  either  unite  the  eight  radii 


AND  HOW  TO  USE  THEM . 


171 


or  meet  over  these  in  the  centre  of  a  netted  hole 
with  the  thread  wound  round.  This  winding  round  is 
so  contrived  that  the  wound  bars  lie  underneath  the 
threads  of  the  foundation,  and  the  stitch  is  on  this 
account  called  a  web. 

Fig.  54  gives  the  manner  of  making  •<».  web,  which 


is  shown  finished  and  surrounded  by  picots  in  Fig. 


Fig.  65. 


55.  The  manner  of  making  these  picots  is  shown  in 
Fig.  56. 


Fig.  56. 


172  NEEDLES  AND  BRUSHES 

PYRAMID  STITCH. 

Fig.  57  gives  the  manner  of  working  this  stitch 
with  two  divisions  :  Tie  the  thread  on  with  a  knot, 
carry  it  as  far  as  the  middle  of  the  outer  netting 
thread  of  the  pattern,  fasten  it  for  a  triangle  again 


Fig.  37 


to  the  middle  hole  returning.  Winding  the  last  thread 
backward,  the  point  of  the  triangle  is  reached,  and  the 
bars  must  now  be  closely  worked  in  point  de  reprisd. 
The  stretched  thread  can  be  carried  along  the  net¬ 
ted  thread  forming  the  base  of  the  triangle  as  far  as 
the  middle,  and  is  then  carried  up  to  the  point.  This 
makes  the  finished  work  show  three  divisions. 

MUSHROOM  STITCH. 


Fig.  58. 


AND  HOW  TO  USE  THEM. 


173 


Tlie  illustration  will  enable  anyone  to  copy  tliis 
stitch,  without  further  description. 

Fig.  59  gives  a  square  containing  double  point  d’es- 


Fig.  59. 

prit  between  the  different  arrangements  of  mushroom 
stitch. 

TUFTED  BUTTONHOLE  STITCH. 


This  stitch  will  be  easily  worked  from  the  design. 
It  is  a  pretty  stitch  for  the  border  of  a  square  as 
in  Fig.  61. 


Fig.  61, 


1 74 


NEEDLES  AND  Bit  USEES 


LETTER  “  S  ”  STITCH. 


Tig-  62. 

This  is  a  combination  of  mushroom  stitcli  and  is 
used  in  the  square  illustrated  in  Fig.  63. 


Tig.  63. 


In  this  square,  the  thick  part  can  be  easily  copied 
by  any  one  who  has  studied  the  preceding  stitches. 
The  two  squares  illustrated  can  be  used  alternately 
to  make  an  insertion,  heading  for  guipure  lace,  or  four 
joined  together  will  make  a  pincushion  cover.  In 
this  case  it  may  be  edged  with  a  netted  border, 
for  which  patterns  have  been  already  given. 

Fig.  64  is  an  easy  pattern  for  an  insertion,  or 
It  can  be  used  for  a  border  by  buttonholing  the 


And  how  to  use  them  175 

edge.  Yery  handsome  counterpanes  pillow  and  shams 


Fig.  64. 


are  made  of  squares  of  guipure,  lined  with  silk  or 
satin. 

DOUBLE  CROSS. 


Fig.  65. 


This  is  very  effective  for  the  middle  of  a  square 
or  even  for  a  corner.  The  loose  threads  must  he 
first  stretched  across  from  one  side  over  the  hole 
of  the  netting,  and  a  bar  wound  round  in  the 
opposite  direction,  weaving  it  with  the  first  bar  as 
shown  in  the  design. 


176 


NEEDLES  AND  BRUSHES 


GUIPURE  IN  RELIEF. 

Very  effective  patterns  may  be  upon  a  ground  of 
point  de  toile,  or  even  upon  plain  netting.  They 
consist  of  loose  threads  stretched  over  the  founda¬ 
tion,  and  worked  in  like  the  point  reprise — for  small 
patterns,  over  two  threads,  with  one  division, — for 
broad  patterns,  leaves,  etc.,  with  two  or  three  divi¬ 
sions  over  three  or  more  threads.  Leaves  should  be 
graduated.  Stalks  on  leaves,  or  sometimes  raised 
veins,  are  formed  according  to  the  thickness  required 
of  threads  stretched  across,  wound  once  or  several 
times  round,  and  closely  corded  in  returning.  The 
large  patterns  require  a  thread  of  the  foundation  to 
be  worked  in  here  and  there  lightly,  to  keep  the 
guipure  better  in  place. 

Fig.  66  shows  the  way  of  working  these  relief 
stems. 


Fig.  66. 


BUTTON-HOLE  STITCH. 

This  forms  a  pretty  scallop  border,  and  is  particularly 
useful  for  edgings.  Stretch  the  thread  firmly  round  the 
netted  thread  and  tie  it  always  with  a  cross-stitch. 
Returning  it  must  be  closely  twisted  again,  and  then 
fastened  with  button-hole  stitch.  Picots  may  be  worked 


AND  HOW  TO  USE  THEM. 


in  this  edge  by  simply  making  another  separate  button¬ 
hole  stitch,  which  lies  free  underneath,  and  is  fastened 
to  the  iiext  in  continuing  the  row.  This  edge  must  be 


Fig.  67. 


worked  very  carefully,  so  that  when  the  threads  of  the 
netting  are  cut  away  the  stitches  will  remain  in  their 
place. 


STAR  ON  RADII. 


Fig.  68. 


This  can  be  worked  from  the  illustration.  Stretch 
bars  as  for  a  wheel,  the  ends  of  which  must  again  have 
cross-bars  for  rounding  the  star.  The  wheel  is  worked 
on  the  cross-bars  and  then  the  radii  arranged  round, 
crossing  them  at  the  back  of  the  wheel  where  they  are 
fastened  with  one  or  two  button-hole  stitches. 

OBLONG  NETTING. 

For  edgings,  the  foundation  must  be  netted,  so  as  to 
form  an  oblong  strip.  To  do  this,  begin  with  two  stitches 


178 


NEEDLES  AND  BRUSHES 


as  in  the  square,  and  increase  on  every  row,  until  there 
are  two  more  stitches  than  are  required  in  the  width. 
Then  go  on  increasing  on  one  side,  bat  decrease  on  the 
other,  so  as  to  keep  the  number  of  stitches  alwajTs  the 
same.  When  you  have  the  required  length  decrease  to 
two  stitches,  as  for  the  square.  The  increasing  must 
always  be  on  the  same  side  of  the  netting,  and  it  is  well 
to  tie  a  bit  of  colored  silk  on  one  side  so  as  to  mark 
where  the  increase  is  to  be  made. 

The  different  stitches  given  above  will  enable  one  to 
copy  any  pattern  without  further  directions,  as  they  are 
merely  various  combinations  of  these. 

The  work  is  elegant  and  durable,  not  trying  to  the 
eyes,  and  possesses  the  advantage  of  demanding  so  few 
materials,  that  it  is  easily  carried  about,  and  makes  but 
light  demands  on  the  purse. 


DRAWN  THREAD  WORK 


This  work,  like  netting,  dates  very  far  hack,  and  many 
old  and  beautiful  specimens  are  to  be  found  in  different 
public  museums.  Extremely  fine  work,  resembling 
Honiton  sprays  on  a  net  foundation,  has  been  done  in 
this  style,  but  the  work  is  too  intricate  and  involves  too 
much  strain  on  the  eyes,  to  find  favor  now-a-days.  Very 
beautiful  effects  can,  however,  be  produced,  without 
unduly  straining  eyes  or  patience.  It  is  always  best  to 
begin  on  coarse  material,  as  the  stitches  are  much  more 
easily  mastered,  than  with  fine  linen.  Crash,  Java  can- 
vass,  and  various  grades  of  linen  are  used  for  this  work. 
It  is  ornamental  enough  alone,  but  it  is  often  associated 
with  outline,  Holbein,  or  Eussian  embroidery.  Colored 
or  golden  silk  and  crewels  are  also  used  instead  of  thread 
and  often  with  very  good  effect.  Some  very  fine  work 
of  this  description  is  done  in  Mexico,  and  it  is  sometimes 
called  Mexican  work.  Another  name  for  it  is  “  Punta 
Tirata.  ” 

Hem-stitching  is  the  simplest  form  of  this  branch  of 
fancy  work.  In  olden  times  most  children  were  taught 
to  hem-stitch  as  part  of  the  systematic  training  in 
needle-work  then  considered  necessary,  but  for  the 
benefit  of  those  who  have  not  learned,  I  give  the 
following  directions,  repeating  the  advice  to  begin 


180 


NEEDLES  AND  BRUSHES 


ou  ratlier  coarse  material.  A  bureau  cover  or  a  stand 
cloth  of  butcher’s  linen,  cotton  momie  cloth,  or  crash, 
is  a  good  thing  to  begin  on.  Measure  off  a  good  depth 
for  your  fringe.  If  you  wish  to  knot  it,  allow  two  or 
three  times  the  length  of  the  finished  fringe. 

Ilalf  an  inch  from  the  fringe,  draw  the  cross  or 
weft  threads  out  for  a  distance  of  about  three-quarters 
of  an  inch.  Leave  a  bar  at  either  end  which  should 
be  neatly  buttonholed  with  linen  thread. 

Thread  an  ordinary  sewing  needle  with  No.  70  cot¬ 
ton;  beginning  at  the  right  hand,  pass  your  needle 
under  four  or  five  warp  or  lengthwise  threads,  draw 
it  up  at  the  left  hand,  and  passing  back  to  the  right 
hand  take  a  fine  hemming  stitch,  and  go  on  as  before. 
This  is  for  the  upper  line.  The  lower  one  is  done  in 
the  same  way,  only  reversing  the  hemming  stitch. 
Having  hem-stitched  both  sides,  take  a  needleful  of 
rather  coarse  linen  thread,  about  twice  as  long  as  the 
width  of  your  work.  Fasten  it  securely  to  the  centre 
one  of  the  end  bars;  fasten  three  of  the  clusters  of 
threads  together  with  a  loop-stitch,  which  is  formed 
by  passing  your  thread  over  the  clusters,  and  (mak¬ 
ing  it  describe  a  large  scallop  below  your  work)  put 
your  needle  at  the  right  hand  in  above  the  working- 
thread,  passing  under  the  clusters,  and  bringing  it 
out  beloic  the  working  thread,  and  inside  the  scal¬ 
lop  formed  by  the  loosely  hanging  thread.  Draw 
this  up  so  as  to  form  a  firm  knot,  and  go  on  to  the 
next  cluster.  When  finished,  the  connecting  thread 
should  appear  as  a  perfectly  straight  line,  neither 
tight  enough  to  pucker  the  work,  nor  so  loose  as 
to  lqok  untidy.  Where  a  greater  number  of  threads 
have  been  drawn,  having  fastened  the  working 
thread  as  before,  pass  over  eight  clusters,  and  put¬ 
ting  your  needle  in,  bring  it  out  again  between  the 
fourth  and  fifth  clusters,  putting  if  in  again  on  the 


AND  HOW  TO  USE  THEM. 


181 


right  hand  of  the  first  cluster  and  draw  it  out  again 
at  the  left  of  the  first  four  clusters.  Draw  it  through 
and  repeat.  This  stitch  is  extremely  simple  and  is 
generally  known,  having  been  in  common  use  for  Java 
canvass  work,  as  well  as  for  linen.  Where  articles 
are  to  be  subjected  to  much  washing,  it  is  not  as 
desirable  as  the  various  arrangements  of  thread 
clusters  by  means  of  the  knot  first  described. 

Other  arrangements  of  drawn  threads  are  shown 
in  Figs.  69-72. 


Fig.  69. 

The  manner  in  which  these  designs  are  worked 
is  so  easily  seen  in  the  cuts  that  a  written  descrip¬ 
tion  would  be  superfluous. 

The  worker  can  employ  her  own  ingenuity  in 
devising  new  combinations,  while  the  use  of  colored 
wools,  and  the  addition  of  rows  of  Holbein  stitch, 
lend  interest  nml  variety  to  the  "Worh: 


182 


NEEDLES  AND  BRUSHES 


Fig.  n. 


AND  NOW  TO  USE  THEM. 


183 


Fig,  72. 

DEAWN  THEEADS  AND  SPUN  STITCHES. 

For  this  pattern  a  frame  is  necessary.  One  used 


Fig.  73. 


for  guipure  netting  will  do,  in  which  the  work  must 


184  NEEDLES  AND  BRUSHES 


be  strained,  after  tbe  threads  are  drawn  and  the  hem¬ 
stitching  done.  Care  should  be  taken  to  have  the 
material  stretched  tightly,  so  that  the  clusters  of 
threads  will  be  perfectly  straight.  The  work  can  be 
basted  on  a  i>iece  of  stiff  paste-board  instead  of  being 
stretched  in  a  frame.  In  this  case,  the  woi’k  should 
be  firmly  fastened  to  the  card-board,  care  being  taken 
to  stretch  it  tightly. 

Draw  all  the  threads  of  the  material  out  of  one 
way  to  the  depth  of  three  inches  and  a  half;  divide 
the  strands  into  sizes  by  working  over  the  edges 
of  each  with  a  slanting  loop,  for  the  entire  length, 
then  crossing  this  line  of  stitches  with  a  second 


Fig.  74. 

one  (see  top  of  desigu);  next  work  the  straight  bars, 
seven-eighths  of  an  inch  from  the  edge,  top  and 


AJND  HOW  TO  USE  THEM. 


185 


bottom,  and  one  line  straight  across  the  centre  for 
the  entire  length  of  your  work;  these  are  the  foun¬ 
dation  threads  to  work  your  pattern  to.  The  knots 
and  loops  forming  the  oval  are  the  next  part  to 
work,  and  the  spun  stitches  are  made  by  interla¬ 
cing  these  loops.  The  arrow  indicates  the  mode  of 
forming  these  stitches. 

These  patterns,  while  effective  and  very  handsome, 
are  very  easily  worked.  The  most  tiresome  part  is 
the  drawing  of  the  threads,  and  the  hem  stitching.  It 
is  rather  improved  by  washing  than  otherwise. 

Fig.  74  is  a  combination  of  drawn  work,  and  the 


stitches  used  in  guipure  d’art. 

Fig.  75  shows  the  manner  of  forming  the  square 
holes  in  which  the  stitches  are  to  be  worked,  just 
as  in  guipure  d’art.  It  would  be  well  to  try  this 


186 


NEEDLES  AND  BRUSHES 


pattern  on  a  spare  piece  of  linen,  so  as  to  be  sure 
of  drawing  a  sufficient  number  of  threads.  If  too 
many  are  drawn,  the  extra  holes  can  be  worked  with 
some  of  the  many  fancy  stitches  given  under  the 
head  of  Guipure  Netting. 

I  have  already,  under  the  head  of  “  Outline  Stitch,” 
given  hints  as  to  many  articles  in  which  drawn  work 
may  be  effectively  used,  but  a  few  more  suggestions 
may  be  useful.  A  very  pretty  apron  can  be  made 
of  a  huck-a-back  towel  which  has  fringe  and  one  or 
two  bordering  stripes.  Draw  the  threads  for  about 
half  an  inch  through  the  centre  of  each  stripe,  and 
work  them  with  some  simple  arrangement  of  the  threads. 
Knot  the  fringe.  The  upper  end  of  the  towel  devided 
into  three  parts  gives  a  pocket,  and  the  ends  of  the 
strings,  all  to  be  worked  to  correspond  with  the  apron. 

Many  handsome  table-cloths  are  further  ornamented 
by  bands  of  drawn  work,  and  when  in  use  are  placed 
over  a  cloth  of  red  cotton  flannel.  A  scarf  for  the  side¬ 
board  is  very  handsome  bordered  with  bands  of  d°ep 
drawn  work  and  handsomely  knotted  fringe.  An  appro¬ 
priate  motto  worked  in  old  English  text  adds  much  to 
the  beauty  of  such  a  cloth.  “  Good  Diet  with  Wisdom 
best  Comforteth  Man  ”  is  good  for  this  purpose,  or  Mac¬ 
beth’s  advice  “Now  good  digestion  wait  on  appetite,  and 
health  on  both.” 

The  homely  saying  “  Prayers  and  Provender  hinder 
no  Man,”  is  another  good  motto,  which  might  appropri¬ 
ately  be  worked  in  rustic  letters. 

Fig.  76  is  a  case  for  working  materials  the  outside  of 
which  is  worked  from  Fig.  69.  It  is  to  be  lined -with  a 
bright  color  and  furnished  with  pockets,  leaves  for 
needles,  and  strap  for  scissors.  The  outside  may  be  of 
linen  or  pongee,  which  is  a  very  satisfactory  material 
for  this  work. 


187 


AND  HOW  TO  USE  THEM. 

A  pattern  that  can  be  used  for  the  same  purpose  is 
worked  as  follows: 

Draw  warp  and  woof  threads  out  so  as  to  form  a  suc¬ 
cession  of  open  squares,  leaving  sixteen  to  twenty 
threads  between  each.  Buttonhole  round  the  outer 
edge,  or  if  a  hem  is  used  as  a  border,  hem-stitch  it 
neatly  round.  Fasten  the  thread  firmly  to  the  edge, 
and  loop  twice  into  each  side  of  the  first  square,  and 


Fig.  76. 

when  you  come  to  where  the  threads  are  left,  divide 
them  in  half  and  loop  through  one  half  of  them.  Cross 
the  thread  over  the  undrawn  parts,  and  continue  till  all 
the  squares  are  worked  round  and  the  left  threads  are 
secured.  Work  three  buttonhole  stitches  into  each 
looped  stitch.  Join  the  last  buttonhole  stitch  to  the 
first,  thus  forming  a  wheel,  and  carry  your  thread  on 
(concealing  it  as  much  as  imssible)  to  the  next  square, 
which  work  in  like  manner.  Buffles  or  flounces  worked 
with  two  or  three  rows  of  this  pattern  form  a  beautiful 
trimming  for  white  dresses,  and  it  also  makes  a  hand¬ 
some  border  for  linen  cambric  handkerchiefs,  d’oylies* 
etc.  Fig.  72  is  a  simpler  form  of  this  pattern. 


188  NEEDLES  AND  BRUSHES 

Figs.  78  to  81,  give  patterns  for  a  different  style  of 


rig-  77. 

work.  Worked  on  some  of  the  softer  linen  materials, 


(c 

Fig.  78. 


sucli  as  momie  or  oatmeal  cloth,  it  is  not  at  all  difficult 


of  execution,  though ,  of  course,  it  takes  much  more 


AND  ROW  TO  USE  THEM. 


189 


time.  Grasscloth  d’oylies  bordered  with  this  work, 
executed  in  gold  thread  and  one  or  two  colored  silks 
are  very  beautiful. 


Fig.  80. 


Fig.  81. 

For  Fig.  82  the  threads  have  been  drawn  so  as  to  form 
regular  squares  which  are  worked  alternately  with  point 
de  reprise  aud  point  d’esprit.  It  is  meant  for  a  cloth 
for  the  centre  of  the  table  to  be  laid  over  a  handsome 
colored  table  cloth. 


190 


NEEDLES  AND  BRUSHES 


Yery  handsome  side-board  or  bureau  scarves  may  be 


Fig.  82. 


wonted  in  oatmeal  or  mornie  cloth,  with  three  or  four 
shades  of  brown  carpet  thread,  using  open  designs,  such 
as  Fig.  70  or  73.  The  plain  strips  between  the  rows  of 
drawn  work  should  have  decorative  stitches  or  some 
conventional  design  in  outline  worked  with  the  different 
shades  of  the  linen  threads.  Fringe  tied  in  Macrame 
knots  forms  an  appropriate  finish  for  such  scarves. 


MACRAME. 


This  work  used  to  be  quite  extensively  used,  at  one 
time,  in  England,  under  the  name  of  knot  work,  which 
designation  is  most  appropriate,  as  it  exactly  describes 
the  manner  of  making  this  kind  of  lace.  In  Italy  it  was 
used  for  trimming  priests’  vestments  in  the  fifteenth 
century,  and  the  name  for  it  there,  punto  a  groppo ,  or 
groppino,  was  also  taken  from  the  method  of  working  it. 
Macrame  is  from  an  Arabian  word  which  signifies  a  large 
cloth  with  a  fringed  border. 

Most  Macrame  lace  or  fringe,  now-a-days,  is  worked 
with  a  species  of  twine  or  cord,  although  it  can  be  made 
of  coarse  thread  or  silk.  The  different  knots  are  used 
also  in  knotting  the  borders  for  towels,  or  as  finishing- 
edges  to  drawn  work. 

Macrame  is  very  rich  and  effective,  and  possesses  the 
rare  advantage  of  exerting  no  strain  on  the  eyes.  It  is 
easy  and  quick  of  execution,  and  also  affords  the  worker 
the  pleasure  of  forming  new  combinations  in  different 
parts  of  the  work.  It  is  well  to  begin  working  with 
quite  coarse  material.  The  real  Macrame  cord,  manu¬ 
factured  by  Messrs.  Barbour  and  Co.  is  made  of  flax  and 
is  rather  softer  to  work  with  than  other  cord,  not  being- 
hard  twisted.  The  natural  color  of  this  cord  is  also  very 
pleasant.  Seine  twine  is  much  used  also,  and  some  pre- 

...  .  191 


192 


NEEDLES  AND  BRUSHES 


fer  its  6cru  color.  It  is  also  much  cheaper.  It  is^  bought 
by  the  skein,  varying  in  weight  according  to  the  size. 

Before  beginning  work,  a  cushion  or  desk  must  be 
provided.  Yery  convenient  patent  desks  can  be  bought 
for  two  or  three  dollars.  A  home-made  cushion  or  desk, 
however,  will  do  equally  well.  If  a  cushion  is  used,  it 
should  bo  very  firmly  stuffed,  as  it  is  impossible  to  do 
work  nicely  on  anything  but  a  hard  cushion.  It  should 
be  about  fifteen  inches  long,  four  inches  high,  and  live 
inches  wide.  Some  put  a  piece  of  lead  or  some  sand  at 
the  bottom  of  the  cushion,  but  I  have  never  found  any 
difficulty  in  working  with  a  cushiou  made  in  the  ordinary 
way.  The  cushion  can  either  be  covered  with  some 
bright  color  as  turkey  red,  or  with  ticking,  the  stripes 
of  which  should  run  lengthwise  of  the  cushion.  A 
second  piece  of  stuff  can  be  sewed  to  the  bottom  of  the 
cushion  on  three  sides,  thus  forming  a  pocket  in  which 
the  extra  strands  of  cord  can  be  kept. 


Some  prefer  working  on  a  desk  or  board.  Such  a 
board  should  be  of  the  same  size  as  the  top  of  the 
cushion  just  described.  Cover  it  with  several  layers  of 
wadding  and  over  this  stretch  tightly  a  cover  of  stout 
muslin.  A  ticking  or  colored  outside  cover  may  then  be 
put  on. 

Besides  the  cushion  you  will  need  a  number  of  large 
pins-  They  should  be  about  two  inches  long. 

Fig.  SI  shows  the  stitches  or  knots  with  which  the 
different  patterns  are  formed.  At  the  extreme  left  the 
manner  of  putting  on  the  working  threads  is  shown 


AND  HOW  TO  USE  THEM. 


193 


The  cords  or  leaders  on  which  the  knots  are  worked 

must  he  doubled  and  have  a  knot  tied  at  the  doubled 

»• 

end.  A  pin  thrust  through  the  loop  thus  formed  fastens 
it  to  the  pillow.  Each  leader  must  be,  after  it  is  doubled, 
a  little  longer  than  the  finished  work  is  to  be,  and  each 
working  thread  after  doubling,  must  be,  as  a  rule,  about 
three  times  as  long  as  the  depth  of  the  finished  work. 

After  the  working  threads  are  set  up  they  are  knotted 
to  a  second  leader,  as  seen  in  the  same  illustration.  To 
work  it,  pass  the  thread  (one  length  at  a  time)  under  the 
leader,  wind  it  once  over  the  leader,  bringing  the  thread 
out  at  the  bottom  at  the  left.  Now  pass  it  round  the 
leader  to  the  right,  and  bring  the  thread  out  through  the 
loop,  thus  forming  a  knot  that  will  not  slip.  This  knot 
is  used  in  forming  the  leaves  and  rosettes  to  be  found  in 
most  patterns.  It  is  also  worked  perpendicularly. 

SINGLE  CHAIN. 

Take  two  threads,  hold  one  straight  in  the  left  hand, 
knot  the  other  thread  on  to  it  once  with  the  right;  hold 
this  thread  straight  in  the  right  hand  and  knot  the  other 
on  to  it  with  the  left.  Repeat.  The  second  figure  in 
No.  83  shows  this  knot. 

DOUBLE  CHAIN. 

This  is  made  like  single  chain,  but  with  four  threads, 
using  two  each  time  instead  of  one. 

OPEN  CHAIN. 

Take  four  threads,  commence  with  the  two  at  the  left 
side,  hold  the  first  of  these  in  the  right  hand  as  the 
leader,  knot  the  second  twice  on  to  it  with  the  left  hand, 
pass  the  same  leader  to  the  left  hand,  knot  the  same 
thread  as  before  twice  on  to  it;  take  the  next  two 
threads,  hold  the  first  thread  in  the  right  hand  as  leader, 
knot  the  second  twice  on  to  it,  pass  the  leader  to  the  left 


194 


NEEDLES  AND  BRUSHES 


hand,  knot  the  same  thread  as  before  twice  on  to  it,  hold 
the  leader  still  in  the  left  hand  and  knot  the  first  leader 
twice  on  to  it  with  the  right  hand,  knot  the  remaining 
thread  at  the  left  side  twice  on  to  it,  leaving  a  loop  be- 
fore  drawing  it  up  tight.  *  Pass  the  same  leader  back 
to  the  right  hand,  and  knot  the  same  thread  twice  on  to 
it  with  the  left  hand.  Then  take  up  the  two  threads  at 
the  right  side,  hold  the  under  one  in  the  right  hand,  as 
leader,  knot  the  other  thread  twice  on  to  it  leaving  a 
loop  as  before.  Pass  the  same  leader  to  the  left  hand, 
and  knot  the  same  thread  twice  on  to  it.  Hold  the 
leader  still  in  the  left  hand,  and  knot  the  leader  at  the 
left  side  twice  on  to  it.  Knot  the  remaining  thread  at 
the  left  side  on  it,  leaving  a  loop  as  before.  Then  pass 
the  leader  back  to  the  right  hand  and  knot  the  same 
thread  twice  on  to  it.  Repeat  from.*  A  modification 
of  this  chain  is  seen  in  the  fourth  figure  of  the  cut. 

TO  MAKE  LEAVES  OR  ROSETTES. 

The  right  hand  figure  shows  the  manner  of  working 
very  plainly.  Take  the  required  number  of  threads,  say 
three;  take  the  first  at  the  left  hand  and  hold  it  in  a 
slanting  direction  in  the  right  hand  as  a  leader;  knot  the 
second  thread  (counting  from  the  left  baud)  on  to  it, 
then  the  third;  take  the  first  left  hand  thread  in  your 
right  hand,  as  a  leader,  holding  it  parallel  to  the 
leader;  knot  the  other  two  on.  Take  the  three  next 
threads;  hold  the  right  hand  one  in  the  left  hand  as  a 
leader,  holding  it  so  that  it  will  slant  at  the  same 
angle  as  the  leaf  just  made.  Knot  the  two  threads, 
taking  them  from  right  to  left  on  to  this  leader;  take 
the  thread  that  now  lies  on  the  right  baud  and  use  as 
a  leader,  holding  it  parallel  to  the  row  just  worked. 
The  next  step  is  to  unite  these  leaves  by  a  Solomon’s 
knot,  which  is  described  below.  Repeat  the  process 


196 


NEEDLES  AND  BRUSHES 


already  described,  only  reversing  the  direction  of  the 
leaves. 

SOLOMON'S  KNOT. 

This  is  the  second  of  the  two  knots  useu  in  Macrame 
and  can  easily  be  worked  from  the  illustration.  Take 
four  threads,  hold  the  two  centre  ones  straight;  it  is 
more  convenient  to  tie  the  two  centre  strands  m  a  slip 
knot  and  fasten  it  to  one  of  your  dress  buttons  or  pin  it 
in  place,  so  as  to  hold  it  firm;  pass  the  thread  at  the  left 
side  loosely  over  these.  Take  the  thread  at  the  right 
side,  pass  it  over  the  first  thread  and  under  the  centre 
ones,  and  up  through  the  loop  at  the  left  side;  draw 
this  knot  up  tight.  Then  take  the  right  hand  thread,  pass 
it  over  the  two  centre  ones  loosely;  take  the  left  thread, 
pass  it  over  this,  under  the  centre  ones,  and  up 
through  the  loop  at  the  right  side;  draw  it  up  tight 
to  meet  the  first  part  of  the  knot.  This  forms  one 
completed  knot.  To  make  a  raised  picot,  which  is 
general^”  used  between  two  leaves,  work  six  Solomon’s 
knots  with  two  threads  from  either  leaf,  using  the 
centre  ones  as  leaders,  and  the  outside  strands  as 
working  threads.  Pass  the  two  centre  threads  back 
through  the  opening  between  the  two  leaves;  take  one 
of  these  threads  and  knot  it  once  to  the  thread  at  the 
left  side,  take  up  the  other  and  knot  it  once  to  the 
remaining  thread  at  the  right  side. 

PICOT  HEADING. 

Place  two  double  strands  round  a  large  pin  and 
make  two  Solomon's  knots;  then  put  on  a  leader. 
This  can  be  varied  by  working  a  double  chain  instead 
of  the  knots  for  a  heading. 

To  work  a  spiral  cord,  work  one  half  of  a  Solo¬ 
mon’s  knot  continuously  over  the  centre  strands. 


and  bow  to  use  them. 


191 


WAVED  BAH. 

This  bar  is  formed  of  four  strands;  knot  the  left 
hand  thread  five  times  over  the  centre  strands;  then 
the  right  hand  five  times  over  the  left  hand,  and  repeat. 

A  very  simple  pattern  to  begin  with  is  worked  as  fol¬ 
lows: 

Fasten  on  24  double  threads,  making  48  working'ones. 
Knot  on  to  a  leader  (the  length  you  wish  to  make  the 
fringe).  Cut  your  threads  a  little  more  than  a  yard  long, 
"Work  one  row  of  Solomon’s  knots.  Put  on  another 
leader.  Take  four  strands.  Take  the  right  hand  thread 
in  your  left  hand  in  a  slanting  direction,  and  knot  the 
other  three  threads  on.  Take  four  more  strands,  use  the 
left  hand  thread  for  a  leader,  slanting  it  to  the  right, 
knot  the  remaining  three  threads  on  it. 

You  have  now  eight  working  threads  in  use.  Take 
the  two  centre  threads,  and  work  a  Solomon’s  knot  with 
the  two  threads  lying  respectively  on  the  right  and  left 
of  the  centre  threads.  Take  the  extreme  left  hand 
thread,  which  was  the  first  leader,  and  holding  it  in 
your  right  hand,  knot  three  threads  on  to  it  with  the  left 
hand.  Take  the  second  leader,  hold  it  in  the  left  hand, 
slanting  it  to  meet  the  one  just  worked,  and  knot  seven 
threads  on;  this  will  finish  one  diamond  and  begin 
another. 

Now  divide  the  eight  threads  with  which  you  are  work 
ing;  take  the  four  at  the  right  side,  hold  the  first  left 
hand  one  in  the  right  hand  and  knot  the  other  three  to 
it;  make  a  Solomon’s  knot  as  in  the  first  diamond,  and 
work  the  lower  half  of  the  diamond  as  directed  above, 
only  remembering  to  knot  only  three  threads  on  to  the 
lower  right  hand  leader  instead  of  seven.  Put  on 
another  leader,  and  knot  the  eight  threads  on.  Repeat 
till  you  have  a  row  six  diamonds  wide. 

Having  knotted  all  the  threads  on  to  the  leader, 


198 


NEEDLES  AND  BRUSHES 


make  two  rows  of  diamonds  with  a  Solomon’s  knot 
in  the  centre  of  each.  For  the  next  row  take  the 
top  leader  of  the  second  diamond,  which  will  be  the 
fifth  thread,  counting  from  the  left.  Use  this  for 
new  leader,  holding  it  in  your  left  hand,  and  knot 
the  four  right  hand  threads  of  the  first  diamond  on 
to  it;  then  take  the  top  thread  on  at  the  left  side, 
hold  it  in  the  right  hand  and  knot  the  three  threads 
from  the  left  side  of  the  second  diamond  on  to  it. 
Finish  this  diamond  as  you  did  those  in  the  last  row. 
Repeat  until  you  have  five  diamonds;  make  four 
under  these  in  the  same  way;  three  under  the  four, 
and  so  on  till  you  have  but  one  oval.  Cut  the  fringe 
even. 

If  fringe  is  not  wanted,  the  scollop  can  be  fin¬ 
ished  off  with  a  thick  edge  in  the  following  manner: 
Bend  each  working  thread  to  the  right  and  knot  the 
succeeding  threads  over  them  ;  cut  two  ends  off  after 
every  second  buttonhole  stitch  so  as  gradually  to 
absorb  the  whole. 

When  working  insertion,  it  is  necessary  that  the 
lower  edge  should  resemble  the  upper.  This  is  managed 
in  the  following  way: 

Keep  the  last  leader  pinned  on  at  both  ends;  take 
two  threads,  draw  the  second  up  under  the  line 
in  a  loop,  pass  the  end  of  both  threads  through 
this  loop,  draw  them  up  tight,  to  form  a  knot,  the 
same  as  the  one  at  the  top  line.  The  threads  will 
now  be  in  front,  betw<  en  the  two  last  lines.  Pass 
these  threads  to  the  back,  one  at  each  side  of  the 
knot,  tie  them  firmly  together  at  the  back,  sew  the 
ends  neatly  to  the  work,  on  the  wrong  side  with  a 
needle  and  thread. 

The  beauty  of  Macrame  lace,  depends  chiefly  on 
taking  care,  first  to  keep  the  leaders  perfectly  straight; 
secondly,  to  work  each  knot  of  the  same  tightness, 


AND  HOW  TO  USE  THEM. 


199 


and  thirdly,  to  draw  each  knot  close  up  to  the  last. 
Almost  all  the  patterns  given  may  he  worked  from 
the  illustrations;  one  or  two,  however,  call  for  a  few 
words  of  explanation. 

As  has  been  said,  the  Macrame  cord  can  now  he 
obtained  in  different  colors.  In  some  of  the  pat¬ 
terns,  dark  and  light  lines  suggest  the  combination 
of  different  colors,  but  they  can  be  as  easily  worked 
in  one  shade.  In  Fig.  81,  tufts  of  crewel  are  intro¬ 
duced.  The  manner  of  fastening  them  is  clearly  shown 
in  the  illustration. 

The  way  in  which  the  strands  of  Solomon’s  knots 


Fig.  85. 


are  crossed  is  shown  in  Fig.  85,  while  the  manner 
of  fastening  in  the  tufts  of  erewTel  is  illustrated  in 
Fig.  86,  and  the  making  of  the  picot  in  Fig.  87. 

Fig.  88,  is  worked  in  purse  twist  of  two  colors.  The 
manner  of  working  the  “  groppo  knots,”  or  rib  balls 
and  picots  is  shown  in  Figs.  88a,  b,  c,  and  d. 

The  square  used  on  the  bag  in  Fig.  89,  is  worked 
from  the  main  part  of  this  design,  a  narrow  gimp 


Fig.  87. 


and  bow  to  use  them ;  «  20 t 


or  quilling  of  ribbon  being  used  to  conceal  the  edges  of 


Fig.  88. 

the  Macrame.  In  the  fringe,  the  working  threads  of 


202 


NEEDLES  AND  BRUSHES 


every  alternate  figure  are  tied  tightly  and  sewed 
neatly  down  at  the  back. 


Fig.  SSc.  Fig.  S8d. 


Fig.  90,  shows  how  to  work  a  corner  in  Macrame.  The 
illustration  is  one  end  of  a  military  collar  worked  in 
coarse  linen  thread.  Fig.  91  shows  how  to  arrange  the 
leading  threads.  The  threads  from  the  side  and 
corner  picots  are  gradually  worked  in  and  cut  off 
after  being  knotted  on  to  the  inside  perpendicular 
leader,  as  also  the  left  hand  working  thread  of  the 
lower  diamond  shaped  figure. 

Fig.  92,  is  a  guard  for  a  pair  of  scissors.  It  is  orna- 


203 


AND  HOW  TO  USE  THEM. 
mented  with  pompons  of  worsted.  Bands  to  hold 


Fig.  90. 

bach  curtains  can  be  worked  in  the  same  way. 


204 


NEEDLES  AND  BRUSHES 


rig.  92. 


AND  HOW  TO  USE  THEM 


205 


Fig.  93. 

ting*  tlie  ends  of  buffet  scarfs,  etc. 


C  R O  CHET 


There  are  very  few  people  who  do  not  understand  how 
to  work  simple  patterns  in  crochet.  The  stitch  itself  is 
so  extremely  simple  and  so  well  known  that  a  description 
seems  superfluous,  but  many  variations  exist,  which  1 
will  name  and  describe  before  proceeding  to  give  any 
patterns. 

Chain  Stitch  .  Make  a  slip-knot,  pass  it  over  the  hook, 
put  the  thread  over  the  hook,  and  by  a  slight  movement 
of  the  hands,  draw  the  thread  that  is  over  the  hook 
through  the  slip-loop.  Draw  the  thread  again  through 
the  stitch  thus  made,  and  proceed  till  the  chain  is  of 
the  required  length. 

Using  this  chain  as  a  foundation,  single  crochet  is 
worked  thus:  put  the  needle  through  a  foundation  stitch, 
draw  the  thread  through  the  stitch  worked  into,  and  the 
stitch  on  the  needle,  together. 

Double  crochet:  put  the  needle  hook  through  a  foun¬ 
dation  stitch,  twist  the  thread  over  the  needle,  draw 
through  the  foundation,  then  draw  through  both  loops 
in  the  needle  together. 

Half  treble:  turn  the  thread  over  the  needle,  pass  the 
needle  through  a  foundation  stitch,  draw  through,  turn 
the  thread  again  over  the  needle,  and  draw  through  all 
three  loops  on  the  needle  together. 


206 


AND  ROW  TO  USE  THEM. 


207 


Treble:  put  tbe  thread  once  over  the  needle,  insert  the 
needle  into  a  foundation  stitch,  draw  a  loop  through; 
you  will  then  have  three  on  the  needle,  turn  the  thread 
again  over  the  needle,  draw  through  two  loops,  turn  the 
thread  again  over  the  needle,  and  draw  through  the  two 
next  loops  together. 

Double  treble:  put  the  thread  twice  over  the  needle, 
insert  the  needle  into  the  foundation,  turn  the  thread 
over  the  needle,  draw  through  two  loops,  put  the  thread 
over  the  needle  again,  draw  through  two  loops,  put  the 
thread  over  the  needle  a  third  time,  and  draw  through 
the  two  last  loops  on  the  needle. 

Cross  treble  (Fig.  94):  Turn  the  thread  twice  round 
the  needle,  insert  the  needle  into  a  stitch,  turn  the  thread 
over  tbe  needle,  draw  through  the  stitch,  turn  the  thread 
over  the  needle,  draw  through  two  loops  together;  turn 
the  thread  over  the  needle,  pass  over  two  stitches,  insert 
the  needle  into  the  third  stitch,  draw  through,  turn  the 
thread  over  the  needle,  draw  through  two  loops,  pass 
the  thread  over  the  needle,  draw  through  two  loops, 


Pig.  94. 

turn  the  tnread  over  the  needle,  draw  through  all  the 
loops  on  the  needle  together,  two  chain,  one  treble  into 
centre  of  cross  treble.  Repeat  from  beginning. 


208 


NEEDLES  AND  BRUSHES 


AFGHAN  STITCH  OB  TKICOT. 

Make  a  foundation  chain,  the  length  required,  allow¬ 
ing  one  chain  over  for  the  forward  row.  In  this  stitch, 
a  row  consists  of  working  up  and  off  the  loops. 

Insert  the  needle  into  the  second  stitch  of  chain,  draw 
up  a  loop,  keep  it  on  the  needle,  and  continue  to  draw  up 
a  loop  through  each  of  the  following  chain  stitches.  In 
working  oil',  put  the  thread  over  the  needle,  draw 
through  the  last  loop,  *  put  the  thread  again  over 
the  needle,  and  draw  through  two  loops  on  the  needle 
together.  Kepeat  from  *  to  the  end  of  the  row, 

In  the  second  and  following  rows,  work  up  the  loops 
through  the  front  perpendicular  loop  of  each  stitch  of 
previous  row,  commencing  with  second  perpendicular 
loop.  The  last  loop  of  a  tricot  row  appears  to  lie  some¬ 
what  at  the  hack  of  the  work.  Care  must  he  taken  to 
work  it,  or  a  straight  edge  cannot  he  obtained. 

BASKET  PATTERN  TEICOT. 


Fig.  95. 


Make  a  chain  of  the  length  required. 

1st  row:  Work  up  a  loop  through  the  first  stitch, work 
one  chain  through  the  loop,  repeat  until  all  the  loops  are 
worked  up.  In  working  off,  work  through  a  loop.  Slip 
each  alternate  loop  off  the  hook,  work  three  chain 
between  the  loops  worked  through. 


AM)  HOW  TO  USE  TEEM. 


209 


2d  row:  Pass  the  slipped-off  loop  at  the  back  of  the 
chain;  draw  up  a  loop  through  it,  then  work  one  chain 
through  the  loop,  draw  up  a  loop  through  the  next  loop, 
and  under  the  chain,  work  one  chain  through  the  loop. 
Repeat  from  the  beginning  of  the  row  until  all  the  loops 
are  worked  up;  the  loops  are  worked  off  as  described 
for  the  first  row. 

The  second  row  is  repeated  throughout.  Remember 
that  in  afghan  stitch,  or  tricot,  working  up  and  off,  is 
reckoned  as  one  row. 

TUFT  STITCH. 


Fisf.  06. 

1st  row:  One  double  into  each  foundation  stitch. 

2nd  row:  *  One  double  into  a  stitch:  draw  up  a  loop 
through  the  next  stitch,  draw  the  right  side  of  the  loop 
with  the  finger  and  thumb  of  the  left  hand,  over  the  left 
side  of  the  loop  (see  arrow),  insert  the  hook  into  the 
loop  thus  held  by  the  finger,  draw  up  a  loop,  turn  tlie 
thread  over  the  hook,  draw  up  another  loop,  draw 
through  five  loops  on  the  hook  together,  work  up  a  loop 
through  the  last  stitch  worked  into,  draw  through  both 
loops  on  the  hook  together.  Repeat  from  * 

These  two  rows  are  repeated  throughout,  arranging  the 
tuft  stitches  so  that  they  he  between  each  other  in 
alternate  rows;  this  is  done  by  commencing  one  pattern 
row  with  the  double,  and  the  other  with  a  tuft  stitch. 


210 


NEEDLES  AND  BRUSHES 


MUSCOVITE  TRICOT. 


Fig.  97 

1st  row:  Work  up  the  loops  as  for  ordinary  tricot, 
work  off  the  first  loop,  *  three  chain,  work  off  the  two 
next  loops.  Repeat  from  * 

2nd  row:  Work  up  the  loops  like  last  row,  *  three 
chain,  work  off  two  loops.  Repeat  from  *  to  the  end  of 
the  row.  These  two  rows  are  repeated  alternately. 
CARRIAGE  MAT  WITH  FOOT  WARMERS  IN  MUSCOVITE 

TRICOT. 

It  will  be  found  convenient  in  working-  this  mat,  to  cut 
a  paper  pattern  of  the  exact  size  wanted,  on  which  the 
work  may  be  measured  from  time  to  time,  to  see  that  the 
centre  and  border  are  duly  proportioned.  It  is  also 
much  easier  to  work  the  centre  and  border  separately. 

Mark  upon  the  paper  the  size  you  wish  the  centre  to 
be,  and  make  a  chain  a  little  longer  to  allow  for  taking- 
up  in  working;  with  the  dark  olive  wool  work  in  Musco¬ 
vite  tricot. 

Cut  patterns  also  of  the  foot  muffs  fitting  the  crochet 
to  them.  The  border  is  also  in  Muscovite  tricot,  worked 
with  the  light  olive  wool;  it  must  be  shaped  at  the 
corners  by  working  three  stitches  into  one  in  each  row; 
it  is  joiued  to  the  centre  by  a  needle  and  wool.  The 
foot-warmers  are  worked  with  the  darkest  shade,  and 
are  lined  throughout  with  looped  knitting 


AND  HOW  TO  USE  THEM. 


211 


For  the  looped  knitting,  cast  on  as  many  stitches  as 
are  required  for  the  top  of  foot-warmers  with  red  wool. 
1st  row:  Knit. 

2nd  row:  Knit  one,  take  a  hall  of  the  darkest  olive 
wool  and  pass  the  end  between  the  first  and  second 


Fig.  98. 


stitches,  knit  the  second  stitch,  pass  the  wool  back, 
leaving  a  loop  of  about  one  and  a  half  inch.  Repeal 
from  the  beginning  of  the  row. 


212 


NEEDLES  AND  BRUSHES 


Eacli  alternate  row  is  knitted  plain;  this  makes  the 
loops  of  wool  on  the  same  side  each  time.  Work  the 
looped  knitting  to  the  shape  of  foot-warmer,  and  also  to 
fit  the  bottom  of  mat  over  which  the  foot-warmer  is 
sewn;  the  necessary  decrease  must  be  made  by  knitting 
two  stitches  together  at  the  end  of  the  row.  A  band  of 
looped  knitting,  about  eight  stitches  in  width,  is  sewn 
across  the  top  of  the  foot-warmers. 

For  the  crochet  edge: — 

1st  row:  Work  with  dark  olive  one  double  into  a 
stitch  at  the  edge  of  border.  Pass  over  one  stitch,  one 
double,  one  half  treble,  one  treble,  one  half  treble,  and 
one  double  into  next  stitch,  pass  over  one  stitch,  and 
repeat  from  the  beginning  of  the  row. 

2nd  row  (with  red  wool):  One  double  into  the  first 
double  of  last  row,  one  single  into  each  stitch  of  scallop. 
Repeat. 

Directions  for  making  the  balls  will  be  found  on  page 
214.  They  are  of  red  wool  and  are  sewn  to  the  border 
by  a  needle  and  wool.  The  card  for  balls  should  be  cut 
to  the  size  of  a  fifty-cent  piece.  The  rug  must  be 
lined  with  red  baize  to  the  edge  of  the  border  of  point 
Muscovite. 

CROCHET  FRINGE. 

This  pretty  fringe  is  suitable  for  ornamenting  wood 
baskets,  waste-paper  baskets,  etc.;  it  is  worked  with 
fine  olive  cord  and  dark  crimson  Berlin  wool. 

To  commence,  make  a  chain  the  length  required  with 
a  crochet  hook,  No.  8  (Walker’s  bell  gauge),  ami  the 
cord. 

1st  row:  One  double  into  a  stitch,  three  chain,  pass 
over  three  stitches  and  repeat. 

2nd  row:  One  double  iuto  first  of  three  chain,  eight 
chain,  one  double  into  last  of  next  three  chain.  Repeat 
from  the  beginning  of  the  row. 


AND  HOW  TO  USE  THEM. 


218 


For  the  heading-:  Work  one  double  into  a  stitch, 
three  chain,  pass  over  two  stitches,  and  repeat  from  the 
beginning  of  the  row. 

The  tassels  are  made  by  turning  wool  eighteen  times 


Fig.  99. 


over  a  card  measuring  two  inches  in  breadth;  cut  the 
wool  at  one  end,  tie  tightly  around  the  other  about  half 
an  inch  from  the  top;  they  are  sewn  to  the  scallop  of 
crochet  with  a  needle  and  wool.  The  method  of  working 
the  stitches  with  wool  in  each  scallop  is  clearly  shown 
in  the  illustration.  A  length  of  cord  is  knotted  in  the 
depth  between  two  scollops. 


214 


NEEDLES  AND  BRUSHES 


To  make  the  little  fluffy  balls  so  much  used  in  con¬ 
nection  with  crochet  in  wools,  cut  two  circular  pieces  of 
card  board,  regulating  the  size  by  the  size  it  is  desired 
to  have  the  bulls.  For  ordinary  use,  a  fifty  cent  piece 
would  be  a  good  guide.  Cut  a  hole  in  the  centre,  and 
with  a  needle  and  wool  sew  evenly  over  both  cards 
until  the  central  hole  is  quite  filled  up.  Cut  the  wool 
between  the  cards  with  a  sharp  penknife  or  scissors, 
and  tie  the  wool  tightly  in  the  centre  between  the  cards. 
Remove  the  cards,  rub  the  ball  in  the  hand,  steam  it 
over  boiling  water,  and  trim  the  edges  with  a  pair  of 
scissors. 

Good  parlor  balls  for  children  can  be  made  with  single 
or  double  Zephyr  wool  of  all  colors  over  cards  measuring 
four  inches  in  diameter,  with  a  hole  in  the  centre  one 
and  a  half  inches  in  diameter,  tied  strongly  between  the 
discs  with  fine  twine.  Fig.  100  shows  the  ball  before 
the  discs  are  removed. 


Fig.  too. 

BEADED  TKICOT. 

Make  a  chain  of  the  required  length,  and  work  one 
row  of  plain  afghan  stitch.  Then  in  the  next  row,  * 
work  up  stitch;  work  up  second  stitch  and  make  three 
chain;  put  the  needle  through  the  same  stitch  the  chain 
started  from,  throw  the  avooI  round  the  needle  and  pull 
it  through  last  two  stitches,  repeat  from  *  to  the  end  of 
row,  working  off  the  stitches  as  usual. 

In  the  next  row  reverse  the  order  of  the  beads. 


AND  HOW  TO  USE  TEEM. 


215 


Geometrical  figures  can  be  worked  by  means  of  these 
beads  on  a  ground  of  plain  tricot.  It  is  a  useful  stitch 
for  quilts,  children’s  afghans,  etc. 

Another  way  of  ornamenting  a  plain  ground  of  close 
crochet,  whether  tricot  or  plain  double  crochet,  is  an 
imitation  of  tatting,  and  is  worked  as  follows. 

Work  three  chain,  then  make  a  loop  over  left  fore¬ 
finger  in  such  a  way  that  the  end  connected  with  the 
spool  or  ball  will  be  in  front;  insert  needle  over  the  front 
and  under  the  back  thread,  draw  up  the  thread  on  the 
needle  as  a  knot;  change  the  arrangement  of  the  loop 
on  the  left  hand,  so  that  the  ball  end  of  the  thread  will 
be  at  the  back;  pass  the  hook  under  the  back  thread 
(which  will  be  the  first  counting  from  the  needle),  and 
over  the  front  or  second  thread;  draw  up  as  a  knot.  A 
little  difficulty  may  be  experienced  at  first  in  making 
these  knots  lie  smoothly,  but  practice  will  render  it  easy. 
Work  nine  double  knots,  then  put  the  thread  round  the 
needle  and  draw  through  all  the  knots;  put  the  thread 
round  the  needle,  and  draw  through  the  last  stitch  on 
the  needle.  This  forms  an  eyelet  like  those  made  with  a 
tatting  shuttle.  In  using  this  stitch  in  connection  with 
tricot,  three  worked  up  stitches  take  the  place  of  the 
three  chain  stitches  which  are  worked  between  the 
“tatting”  loops. 

STAR  STITCH. 

Make  a  chain  the  length  required,  draw  up  a  loop 
through  each  of  five  successive  stitches,  draw  through 
all  the  loops  on  the  needle,  close  the  cluster  with  one 
chain,  *  draw  up  a  loop  under  the  last  chain,  another 
through  back  perpendicular  of  last  stitch,  and  one 
through  each  of  the  two  next  stitches,  draw  through  all 
the  loops  on  the  hook  together,  close  with  one  chain. 
Repeat  from  *  to  the  required  size.  For  the  edge  in  the 
illustration: 

1st  row:  One  double  iuto  every  stitch. 


216  NEEDLES  AND  BRUSHES 

2nd  row:  One  double  into  a  stitch,  *  pass  over  two 
stitches,  eight  trebles  under  next  stitch.  Repeat  from  * 


Fig.  101. 


TO  JOIN  AFGIIAN  STRIPES  OF  TWO  COLORS. 

Tlie  ends  of  the  two  colored  wools  should  be  joined, 
and  then  a  chain  of  three  be  made  on  one,  and  this 
crocheted  into  the  first  two  stitches  of  the  held  together 
stripes;  then  a  chain  of  three  made  on  the  other  wool 
and  crocheted  into  the  next  two  stitches,  alternating  the 
colors  through  the  length  of  the  stripes.  In  case  of  a 
Roman  stripe  two  colors  contrast'ng  harmoniously  with 
all  the  colors  used  in  the  stripes  should  be  taken.  Black 
and  yellow  are  generally  useful  for  such  stripes. 


AND  HOW  TO  USE  THEM 


217 


Petticoat  for  child  of  one  year  old. 


Fig.  102. 


Materials  required,  six  ounces  white  and  one  ounce 
scarlet  Berlin  wool  (crochet-hooks  Nos.  10  and  12).  The 
waist  and  skirt  are  worked  separately.  It  is  best  worked 
to  a  paper  iiattern.  With  the  white  wool  and  hook  No. 
12  begin  the  bodice  on  the  button  side  of  the  back.  For 
a  child  of  the  age  mentioned  a  chain  of  about  thirty-six 
inches  will  be  required.  Work  as  follows:  one  treble 
into  the  back  horizontal  stitch  of  each  loop;  increase  by 
working  twice  into  each  stitch  at  the  bottom  of  every 
other  row  to  make  the  slope  at  the  bottom  of  the  waist. 
To  shape  the  armhole  pass  over  two  stitches  at  the  com¬ 
mencement  of  one  row,  and  at  the  end  of  the  next  row 
until  you  have  worked  to  the  centre  of  armhole,  then 
increase  in  the  same  proportion  that  you  decreased. 
Work  straight  across  the  front  without  increase  or 


218 


NEEDLES  AND  BRUSHES 


decrease;  the  other  armhole  and  back  are  worked  in  the 
same  way  as  described  for  the  first  side. 

For  the  skirt,  work  with  the  same  hook: 

1st  row:  One  double  into  each  stitch  at  the  edge  of 
waist;  join  round. 

2nd  row:  One  double  into  each  of  three  stitches;  two 
chain,  repeat. 

3rd  row:  One  double  into  each  stitch,  three  doubles 
into  each  chain  stitch.  Repeat. 

4th  row:  One  double  into  each  stitch  at  right  side  of 
the  scallop,  three  doubles  into  the  centre  stitch,  and  one 
double  into  each  stitch  at  the  other  side  of  the  scollop. 
This  last  row  is  to  be  repeated  nine  times  more;  then 
with  hook  No.  10  nine  rows  more,  three  of  these  in  scar¬ 
let,  and  two  with  white;  this  finishes  the  skirt. 

For  tli e  trimming  at  the  top  of  the  waist,  work  one 
double  into  a  stitch  at  the  edge,  five  chain,  one  treble 
into  the  first,  pass  over  three  stitches  and  repeat.  When 
worked,  the  treble  between  the  chains  should  be  parallel 
with  the  top  of  the  waist. 

2nd  row:  One  single  with  scarlet  wool  into  each  stitch 
of  the  last  row.  This  is  for  the  edge  that  turns  down. 

For  the  stand  up  edge: — 

1st  row:  Work  one  treble  iuto  stitch  at  the  edge  of 
waist,  five  chain,  one  treble  iuto  the  first  chain  stitch 
(this  forms  the  bottom  of  the  scollop),  pass  over  three 
stitches,  two  trebles  into  the  next  two  stitches,  five 
chain,  one  treble  into  the  first,  pass  over  three,  and 
repeat. 

2nd  row :  One  double  into  each  stitch  of  last  end  with 
scarlet  wool.  Run  ribbon  in  and  out  through  the  trebles 
and  tie  in  a  bow.  The  same  edging  is  worked  round  the 
armholes. 

SHAWL  IN  CROCHET. 

Make  a  very  loose  chain  as  long  as  you  want  your 
shawl  square,  say  nearly  two  yards  long.  Turn  and 


AND  SOW  TO  USE  TEEM. 


219 


make  three  trebles  in  the  seventh  loop  of  chain.  *  Then 
skip  four  chain,  and  make  one  double  crochet  in  fifth 
chain,  then  make  three  chain,  then  three  trebles  in  same 
chain  that  you  made  one  double  crochet  in.  Then  skip 
four  chain,  and  make  one  double  crochet  in  fifth  chain 
and  repeat  from  *  to  the  end  of  the  row.  After  making- 
three  trebles  in  last  chain  you  turn  and  make  three 
chain;  then  make  one  *  double  chain  in  the  last  three 
chain  of  the  previous  row;  make  three  chain,  then  make 
three  treble  in  the  same  place  you  made  the  last  double 
crochet.  Make  one  double  crochet  in  the  next  three 
chain,  and  repeat  from  *  .  Make  a  border  of  shell  stitch 
after  the  shawl  is  square.  Use  a  very  coarse  ivory  needle 
for  the  shawl. 

INFANT’S  SACQUE  IN  SHELL  STITCH. 

Make  a  chain  of  one  hundred  stitches  for  a  foundation. 

1st  row:  Crochet  across  a  row  of  open  trebles,  i.  e., 
one  chain  between  each  and  skipping  one  stitch  in  the 
foundation,  fifty  trebles  in  all. 

2nd  row:  Turn  the  work  and  crochet  back  making  a 
shell  of  two  trebles  each,  between  each  treble  of  first 
row,  forty-eight  shells. 

3rd  row:  Widen  for  the  shoulders  by  crocheting  three 
trebles  in  the  eleventh  and  twelfth  shells  from  each  edge. 

4th  row:  Plain,  except  to  make  two  shells  in  each 
place  where  it  was  widened  in  the  preceding  row. 

Continue  widening  every  other  row  on  the  shoulders 
until  you  have  widened  five  times,  being  careful  to  widen 
directly  under  the  shell  where  you  widened  first. 

8th  row:  Widen  in  the  two  shells  in  the  centre  of  the 
back  in  the  same  way  as  you  did  for  the  shoulders.  In 
widening  the  back  widen  always  in  the  two  centre 
stitches  (not  as  on  the  shoulders). 

12th  row:  Crochet  eleven  shells,  then  back  to  the  first 
side,  dropping  all  the  shells  between  the  widening  shells 
for  a  shoulder  gore— skip  ten  shells  for  part  of  the  arm- 


220 


NEEDLES  AND  BRUSHES 


bole.  Crochet  two  rows  on  the  bach  the  same  way  (there 
should  be  thirty  shells  for  the  bach  and  eleven  shells  on 
each  front);  join  under  the  armhole  with  four  chain  stit¬ 
ches  and  worh  three  shells  into  these  chains  in  the  14th 
row. 

Crochet  eleven  rows  across,  widening  every  third  row 
in  the  centre  of  the  bach  and  finish  with  a  border  of 
shells  all  around  it.  The  shells  in  the  border  are  of 
three  trebles  into  every  other  shell  and  a  double  crochet 
into  the  shell  between.  The  neck  has  an  extra  row  of 
shells  before  the  border  row.  For  the  sleeve,  commence 
under  the  arm  and  crochet  twelve  rows  of  shells  into  the 
armhole  and  finish  with  the  border. 

This  is  pretty  made  in  two  colors,  using  one  for  the 
body  and  the  other  for  a  border  in  this  way: 

20th  row:  Join  the  border  color  and  crochet  two  rows, 
then  one  row  of  the  body  color,  then  two  rows  of  the 
border  color  all  around  the  edge  of  the  sacque,  and  then 
finish  with  the  shells  of  three  trebles. 

Run  a  cord  with  tassels  or  a  ribbon  through  the  holes 
at  the  neck,  and  you  will  have  a  neat  sacque  very  rapidly 
and  easily  made. 

Materials  required— about  three  ounces  of  Saxony 
yarn — two  of  one  color,  one  of  the  other. 

CKOCHETED  GLOYES. 

Four  ounces  of  German  fingering,  with  steel  hook  No. 
12  (about  equal  in  size  to  a  No.  16  knitting-needle  as  sold 
in  the  stores)  will  make  a  full-sized,  warm  and  comfort¬ 
able  gentleman’s  over-glove.  The  same  quantity  of 
Andalusian  or  Saxony,  and  a  hook  three  or  four  sizes 
smaller,  will  make  a  lady’s  size  glove. 

Make  a  chain  of  seventy-three  stitches,  work  seventy- 
two  DC  (double  crochet)  on  it,  unite  into  a  ring  and  work 
six  rounds  of  DC. 


AND  HOW  TO  VSE  THEM.  221 

8tli  round:  Five  DC,  one  DC  between  the  next  two 
stitches  to  increase  for  the  thumb,  sixty-seven  DC. 

In  every  successive  round  increase  one  on  each  side 
this  one  stitch  for  the  thumb,  until  you  have  thirty  extra 
stitches.  Then  finish  the  thumb  as  follows: 

A  DC  on  each  of  these  thirty  stitches,  then  eighteen 
chain  and  join  to  the  first  DC  of  the  thirty.  On  the  next 
round  work  forty-eight  DC.  In  every  round  after  this, 
miss  the  first  and  last  of  the  eighteen  extra  DC;  this 
forms  a  gusset.  When  the  stitches  have  been  reduced 
to  the  original  thirty,  work  fifteen  rounds  plain — that  is 
in  DC,  without  any  decreasings.  From  this  point  of  the 
thumb  work  three  DC,  miss  the  next,  and  repeat  this 
round  and  round  till  only  four  stitches  are  left.  Finish 
the  thumb  by  working  these  four  stitches  at  once,  and 
fasten  off  on  the  side.  >• 

Kow  return  to  the  hand.  In  addition  to  the  original 
seventy-two  stitches,  there  were  eighteen  added  for  the 
thumb  gusset.  On  these  ninety  stitches  work  sixteen 
rounds  of  DC,  and  then  divide  them  for  the  fingers,  fifty 
stitches  for  the  back  of  the  hand  and  forty  for  the  front. 

For  the  first  finger  work  twelve  DC  from  the  back, 
eleven  from  the  front,  make  ten  chain,  and  join  to  the 
first  DC.  On  the  next  round  work  thirty-three  DC,  and 
in  succeeding  rounds  miss  the  first  and  last  of  the  extra 
ten  chain  until  only  twenty-three  at  left.  On  these 
twenty-three  stitches  work  twenty  rounds  plain  DC  or 
till  the  finger  is  long  enough.  Then  decrease  and  finish 
off  as  directed  for  the  thumb. 

For  the  second  finger  take  twelve  from  the  back,  ten 
from  the  front,  add  a  chain  of  ten  as  before,  and  use  the 
ten  chain  of  the  forefinger  gusset  for  the  other  side  of 
the  finger— forty-two  stitches  in  all,  with  a  gusset  of  ten 
chain  on  each  side  of  the  finger.  Decrease  on  each  of 
these  ten  chain  as  directed  for  the  first  finger,  till  twenty- 


222 


NEEDLES  AND  BRUSHES 


two  stitches  are  left,  then  work  twenty-three  rounds 
plain,  and  taper  and  finish  off  as  before. 

Work  the  third  finger  the  same  as  the  second,  but  work 
twenty  plain  rounds  only — not  twenty-three  rounds.  The 
remaining  twenty-three  stitches  are  for  the  last  finger 
which  only  has  a  gusset  on  the  side  next  to  the  preceding- 
finger.  Decrease  on  this  gusset  till  only  twenty-two 
stitches  are  left,  work  eighteen  rounds  plain,  and  then 
finish  off  as  before. 

The  second  glove  is  made  in  the  same  manner,  care 
being  taken  to  make  them  right  and  left  by  reversing 
the  stitches  for  front  and  back. 

THE  CUFF. 

Hold  the  work  with  the  right  side  outside,  begin  where 
the  chain  is  joined,  and  work  a  row  of  looped  crochet. 
Break  off  at  the  end.  Do  ten  more  rows.  On  the  11th 
row  increase  at  each  end,  also  in  the  15th,  19th,  24th  and 
29th  rows.  Work  thirty  three  rows  in  all  and  finish. 
Sew  in  neatly  all  the  ends;  sew  on  a  piece  of  strong- 
leather,  and  insert  a  spring. 

The  backs  of  the  gloves  can  be  embroidered  in  any 
simple  stitch. 

CROCHET  COLLAR  AND  CUFF. 


AND  HOW  TO  USE  THEM 


223 


This  is  to  be  worked  in  fine  linen  thread  with  a  steel 
needle.  It  is  very  pretty  for  an  edging  and  can  be 
crocheted  as  narrow  or  as  deep  as  desired.  The  extra 
width  shown  in  the  illustration  is  not  needed  for  the 
cuff;  about  three  inches  of  it  is  worked  to  turn  the 
corner  for  the  collar,  which  should  be  made  up  like  the 
knitted  one  given  in  the  next  chapter. 

For  the  cuff  make  a  chain  of  forty-four  stitches. 

1st  row:  Pass  over  six  stitches,  one  treble  into  the 
seventh,  two  chain,  pass  over  one  stitch,  *  one  double 
into  the  next,  two  chain,  pass  over  two  stitches,  two 
trebles  separated  by  three  chain  into  the  next,  two  chain, 
pass  over  two  stitches,  one  double  into  the  next,  repeat 
from  *  five  times  more,  *  two  chain,  pass  over  two  stit¬ 
ches,  one  treble  into  the  next,  three  chain,  one  treble 
into  the  same  stitch ;  turn. 

2nd  row:  Three  chain,  one  treble  under  three  chain 
of  last  row,  *  five  chain,  two  trebles  separated  by  two 
chain  under  next  three  chain,  repeat  from  *  five  times 
more;  turn. 

3rd  row:  Four  chain,*  two  trebles  separated  by  three 
chain  under  two  chain,  two  chain,  one  double  into  centre 
of  five  chain,  two  chain,  repeat  from  *  five  times  more, 
two  trebles  separated  by  two  chain  under  two  chain; 
turn. 

4th  row:  Three  chain,  one  treble  under  two  chain,  * 
five  chain,  two  trebles  separated  by  two  chain  under 
three  chain,  repeat  from  *  five  times  more,  one  chain, 
thirteen  trebles  under  four  chain,  one  double  into  first 
row  of  pattern  (see  design);  turn. 

5th  row:  Fourteen  trebles  each  separated  by  one 
chain  between  the  trebles  of  last  row  and  under  the  one 
chain,  one  chain,  *  two  trebles  separated  by  two  chain 
under  two  chain,  two  chain,  one  double  into  centi’e  of 
five  chain,  two  chain,  repeat  from  *  five  times  more,  two 


224 


NEEDLES  AND  BRUSHES 


chain,  two  trebles  separated  by  two  chain  under  the 
chain  at  the  turn  of  last  row;  turn. 

6th  row:  Three  chain,  one  treble  under  two  chain,  * 
five  chain,  two  trebles  separated  by  five  chain  under  two 
chain,  repeat  from  *  five  times  more,  two  chain,  fourteen 
trebles,  each  separated  by  one  chain  between  the  trebles 
of  last  row;  turn. 

7th  row:  Two  chain,  fourteen  half  trebles  each  sepa¬ 
rated  by  two  chain  between  the  trebles  of  last  row,  three 
chain,  *  two  trebles  separated  by  three  chain  under  two 
chain,  two  chain,  one  double  into  centre  of  five  chain, 
two  chain,  repeat  from  *  five  times  more,  two  chain,  two 
trebles  under  the  chain  at  the  turn  of  last  row.  Repeat 
from  second  row  for  the  length  required. 

For  the  edge,  work  one-half  treble  under  the  two  chain 
at  the  turn  of  the  last  row,  one-half  treble  under  the 
fourth  two  chain  on  next  scollop,  *  three  chain,  one-half 
treble  under  next  two  chain,  repeat  from  *  eight  times 
more,  three  chain,  then  repeat  from  the  beginning  of  the 
row. 

For  the  narrow  part  used  for  the  corner  of  collar,  work 
the  four  repeats  of  the  first  patterns  of  the  first  and 
second  rows  alternately. 

NARROW  EDGING. 


Fig.  104. 


This  edging  is  worked  in  the  width,  a  heading  being 
crocheted  on  afterwards. 

Make  a  chain  of  nine  stitches,  join  in  a  round,  make 
two  chain,  three  trebles  into  the  ring,  keep  the  top  loop 
of  each  on  the  hook,  and  draw  through  altogether;  six 
chain,  one  single  into  the  first,  three  trebles  into  the 


AND  HOW  TO  USE  THEM. 


225 


foundation  ring,  keep  the  top  loop  of  each  on  the  hook, 
and  draw  through  altogether;  two  chain,  one  single  into 
the  foundation  loop.  Repeat. 

For  the  heading:  Two  trebles  under  the  chain  of  nine, 
four  chain.  Repeat  from  beginning  of  row. 

Fig.  105  is  an  edging  of  feather  edge  or  miguardise 


Fig.  105. 


braid  and  crochet.  Care  should  be  taken  in  choosing  the 
braid,  which  should  be  line  and  firm.  No.  0  is  a  very 
good  number.  I  have  found  that  this  kind  of  crochet 
washes  much  better  when  worked  rather  loosely,  although 
it  is  not  quite  so  handsome  at  first  as  when  crocheted 
together. 

Begin  with  the  leaf  line;  work  one  double  into  a 
miguardise  picot;  eight  chain;  fasten  to  third  picot  of 
miguardise;  work  back  on  the  eight  chain;  one  double, 
five  treble,  and  one  double.  This  finishes  one  leaf. 
Three  chain,  six  chain,  fasten  to  second  picot,  one  double, 
four  treble,  and  one  double  for  this  leaf.  Three  chain, 
five  chain,  fasten  to  second  picot;  work  one  double, 
three  treble,  and  one  double.  Nine  chain,  one  double 
into  third  picot;  *  one  treble  into  following  picot, 
seven  chain,  one  single  into  picot  last  treble  was  worked 
into.  Repeat  from  *  twice  more,  then  work  as  before 
described,  but  in  reversed  order;  then  repeat  again 
from  the  beginning. 


226 


NEEDLES  AND  BRUSHES 


For  tlie  other  side,  one  chain,  two  double  into  two 
following  picots  (see  design),  eight  chain,  twist  the 
cotton  three  times  round  the  hook,  one  double  into 
picot  (see  design),  twist  the  cotton  twice  round  the 
hook,  one  double  into  next  picot;  again  twist  the  cotton 
twice  round  the  hook,  one  treble  passing  over  one 
picot,  twist  the  cotton  three  times  round  the  hook,  three 
treble  (see  design).  The  loops  on  the  hook  must  now 
be  worked  off,  and  the  treble  and  double  stitches  worked 
opposite  to  those  already  worked;  finish  with  a  row  of 
alternately  one  chain  and  one  treble. 


D’OYLEY:  WAVED  BRAID  AND  CROCHET. 


1'ig.  106. 


Begin  the  work  between  the  slanting  line  of  braid  and 
the  lower  left-hand  point  of  the  outer  circle  (see  Fig. 
107). 


ARD  ROW  TO  UtiE  TEEM. 


227 


Count  the  points  of  braid  and  place  them  as  shown  in 
No.  107.  Work  one  double  in  the  seventh  and  eighth 
points  together,  two  chain.  Join  these  two  pieces  of 
braid  together  by  working  one  double  into  each  of  the 
four  points  on  both  sides  together  (see  design).  Fasten 
off. 

*  Now  work  one  double  into  the  second  point  from  the 
top  of  left-hand  side  of  braid,  two  chain,  one  double  into 
next  point,  one  chain,  one  double  into  next  point,  one 
chain,  one  treble  into  each  of  the  three  next  successive 
points  of  the.  braid,  one  chain,  one  double  into  each  of 
the  three  next  jioiuts  of  the  braid,  join  to  the  first 
double  of  this  inner  side  of  point,  and  fasten  off  (with  a 
needle,  to  secure  the  cotton  and  make  the  work  neat). 
Between  the  small  points,  which  come  alternately,  join 
with  a  needle  and  cotton,  working  with  it  two  chain 
between  the  points.  Repeat  from  *  until  you  have 
eight  complete  points  (see  No.  107). 

For  the  inside  of  the  pattern  work  one  double  into  the 
first  inner  left-hand  point  of  braid,  six  chain,  one  double 
into  the  next  inner  point,  twelve  chain,  one  double  into 
next  point,  six  chain,  one  treble  into  each  of  three  next 
inner  points,  six  chain,  one  double  into  the  next  point, 
six  chain,  one  single  into  the  centre  of  twelve  chain,  six 
chain,  one  double  into  the  next  point,  four  chain,  one 
single  into  the  second  of  first  six  chain,  two  chain,  one 
double  into  the  lower  point.  This  completes  the  inner 
part;  fasten  off. 

The  braid  is  carried  across  to  begin  the  next  outer 
pattern  in  the  same  place  as  the  last. 

Leave  eight  clear  points  on  the  lower  side  of  the  braid, 
and  begin  the  next  circle.  (Ten  circles  are  needed  for 
the  d’oyley). 

After  working  between  the  first  two  lines  of  braid 
for  the  next  circle,  work  on  the  outer  side  of  the  points 
of  braid  left  between  the  two  circles,  two  chain,  one 


228 


NEEDLES  AND  BRUSHES 


treble  into  each  of  the  five  points.  The  double-trebles 
and  chain-stitches  between  the  circles  will  be  more 
easy  to  work  from  the  design  than  from  description 
when  all  the  ten  outer  circles  are  worked  and  joined. 


Fig.  107. 

For  the  border,  work  one  treble  into  first  outer 
point  of  circle  (see  right-hand  side  of  Fig.  107),  three 
chain,  one  single  into  next  point,  eight  chain,  one 
single  in  the  fourth,  three  chain,  one  single  into  next 


AND  HOW  TO  USE  THEM. 


229 


point,  six  chain,  one  single  into  fourth,  two  chain,  one 
single  into  next  point,  *  eight  chain,  one  single  into 
the  fourth,  three  chain,  oue  single  into  next  jioint  of 
braid.  Eepeat  from  *  twice  more.  Six  chain,  one 
single  into  fourth,  two  chain,  one  single  into  next 
point.  Eepeat  between  the  two  last  **.  Six  chain,  one 
single  into  the  fourth,  two  chain,  one  single  into  the 
next  point,  eight  chain,  one  single  in  the  fourth,  three 
chain,  one  single  in  tbe  next  point  five  chain,  one  treble 
into  next  point,  seven  chain.  Eepeat  from  the  begin¬ 
ning  of  the  edge. 

For  the  middle  of  d’oyley,  join  the  braid  neatly 
with  a  needle  and  cotton  to  the  piece  of  braid  the 
first  circle  was  begun  with.  Count  the  points  of  braid 
in  No.  107,  and  arrange  them  as  shown  in  the  cut. 
The  straight  inner  lines  of  braid  lying  together  aie 
sewn  to  the  two  middle  points  of  the  braid,  which 
connect  the  circles.  The  inner  lines  are  worked  with 
two  chain,  one  double  into  the  two  points  lying  together. 
Eepeat  nine  times  more;  this  finishes  the  straight 
centre  lines. 

The  chain-stitches  in  the  centre  of  each  division  can 
be  easily  worked  from  the  design. 

For  the  middle  star,  five  chain,  join  round. 

1st  Bound:  Two  chain,  one  treble;  repeat  four  times 
more. 

2nd  Bound:  Five  chain,  one  double  under  the  two 
chain,  five  chain,  one  double  under  the  same;  repeat 
all  round. 

3rd  Bound:  Seven  chain,  one  double  under  the  five 
chain. 

4th  Bound:  Five  chain;  one  double  in  the  centre  of 
five  chain.  Join  to  the  centre  point  of  braid;  five 
chain,  one  double  in  the  centre  of  next  five  chain; 
join  to  the  next  centre  point  of  braid.  Eepeat  all 
round. 


230 


NEEDLES  AND  BRUSHES 


The  bag-  illustrated  in  Fig-.  108,  is  made  of  plush  or 
satin,  and  decorated  with  crochet  worked  in  single  strips 


as  in  Fig.  109.  This  pattern  is  worked  in  strips  on  a 
foundation  of  single  chain  the  length  of  the  bag,  and 
sewn  or  crocheted  together  at  the  points.  These 


Fig.  109. 


strips  are  in  turn  sewed  to  a  foundation  of  donbl© 


AND  now  TO  USE  TEEM. 


231 


crochet  the  length  of  the  bag.  The  bag  from  which  this 
pattern  was  taken  was  of  olive  green  plush  lined  with 
satin  of  the  same  color,  the  crochet  was  worked  in  gold 
spangled  thread,  and  the  balls  were  of  Hamburgh  work 
in  two  shades  of  olive  green,  but  the  effect  of  the  crochet 
would  be  very  good  if  done  in  very  fine  seine  twine,  or 
coarse  ecru  linen  thread.  A  very  pretty  tidy  could  be 
made  of  fine  seine  twine  crocheted  after  this  pattern  and 
arranged  as  in  the  bag,  colored  ribbon  being  run  through 
the  open  work.  The  ends  should  be  finished  with  a  tied 
in  fringe. 

HAIRPIN  WORK  OR  CROCHET  GIMP. 

This  is  worked  over  a  fork  shaped  like  a  large 


Fig.  no. 


hairpin.  It  should  be  made  of  stout  wire,  copper 
being  preferable.  For  narrow  work,  one  of  the  pins 
used  for  crimping  the  hair  would  do,  but  for  some 
patterns  it  is  desirable  to  have  a  wider  fork.  The 
gimp  is  very  useful  for  making  various  handsome 
edgings  being  crocheted  into  different  patterns  after 
the  manner  of  mignardise  braid.  Pretty  breakfast 
caps  can  be  made  of  lengths  worked  from  the  following 
pattern  and  sewed  together,  one  length  being  sewed 
around  as  a  border.  Make  a  slip-loop,  pass  it  over  one 


232 


NEEDLES  AND  BRUSHES 


side  of  the  forli,  bringing  the  knot  in  the  middle  of 
the  fork,  turn  the  fork  round,  and  you  will  have  a 
loop  on  each  side.  Draw  up  a  stitch  through  the 
tirst  loop,  make  one  chain,  *  take  out  the  hook, 
turn  the  pin  and  insert  the  hook  in  the  stitch  from 
which  it  was  withdrawn,  work  one  double  under 
left-hand  loop.  Eepeat  from  * 

BAG  FOR  SOILED  LACES  IN  HAIRPIN  -  WORK  AND 

CROCHET. 

This  bag  is  composed  of  lengths  of  hairpin-work 
of  fawn-colored  cotton,  joined  with  crochet  chain  worked 
in  scarlet.  For  the  hairpin- work,  commence  by  making 
a  loop  in  the  cotton,  pass  it  over  one  side  of  the  fork, 
turn  the  fork,  the  cotton  will  form  a  loop  over  the 
other  side  of  the  fork,  insert  the  hook  in  the  first 
loop,  draw  up  a  loop,  *  work  two  doubles  into  the 
left-hand  loop,  take  out  the  hook,  turn  the  fork  from 
left  to  right,  draw  up  a  loop  through  the  stitch  from 
which  you  withdrew  the  hook,  then  repeat  from  *. 
Make  fourteen  lengths  of  hairpin-work,  twelve  inches 
in  length,  with  fawn  cotton.  Then  work  a  length  of 
fifteen  inches  to  form  the  border;  join  the  fourteen 
lengths  by  working  with  scarlet  cotton  one  double  into 
two  loops  oi  hairpin-work,  three  chain;  take  another 
length,  *  oue  double  into  six  loops  together,  three  chain, 
one  double  into  six  loops  of  first  length,  repeat  from  *, 
working  from  side  to  side  the  length  of  the  work;  all  the 
lengths  are  joined  in  the  same  way.  For  the  bottom  a 
circle  of  fifteen  inches  in  circumference  is  needed;  this 
is  made  by  joining  seven  graduated  lengths  of  liairpin- 
work  together.  The  centre  length  measures  five  and  a 
half  inches,  the  lengths  on  each  side  being  gradually 
narrower;  this  is  joined  by  a  needle  and  thread  to  the 
upper  part  of  bag. 


AND  HOW  TO  USE  THEM. 


233 


for  the  trimming  covering  tli6  join,  see  Fig.  111. 
Work  one  double  into  six  loops,  three  chain,  one 
double  into  the  end  of  a  length  of  hairpin-work,  three 
chain,  one  double  into  next  six  loops  together,  three 
chain,  one  double  into  the  double  worked  into  two  loops, 
three  chain.  Repeat  from  the  beginning  of  the  row- 


Fig.  111. 


For  the  edge:  Work  one  double  into  six  loops  together, 
six  chain,  one  single  into  the  third,  three  chain.  Repeat. 
A  wire  is  run  through  the  top  of  trimming  (see  design), 
to  keep  the  bag  in  a  round  form.  The  top  of  bag  is 
drawn  together  by  running  strings  of  ribbon. 

EDGING  OF  HAIRPIN-WORK  AND  CROCHET. 

Make  a  piece  of  hairpin  -  work  about  the  length 
required  for  the  edging. 

For  the  edge  of  the  trimming:  One  single  into  a  loop 
of  hairpin-work,  three  chain,  one  single  into  the  first 
chain,  one  chain,  one  single  into  each  of  fifteen  loops  of 
hairpin-work,  three  chain,  one  single  into  first  picot,  one 


m 


NEEDLES  AND  BRUSHES 


chain,  one  single  into  second  of  three  chain,  one  chain, 
*  one  double  into  a  loop  hairpin-work,  live  chain,  one 
double  into  second  chain,  one  chain,  repeat  from  *  six 
times  more,  then  repeat  from  beginning'  of  the  row. 

For  the  heading: — 

1st  row:  One  chain,  one  single,  separated  by  one  chain 
into  each  of  three  loops  of  hairpin- work  in  the  depth  ot 
a  scallop,  one  single  into  each  of  nine  loops,  one  single 
separated  by  one  chain  into  each  of  three  next 
loops,  one  chain,  one  single  into  first  chain;  fasten 
the  cotton  off  securely,  and  work  the  same  in  the 
depth  of  each  scallop.  A  reference  to  the  illustration 
while  working  this  will  make  the  directions  quite  plain. 

2nd  row:  One  triple  treble  under  the  chain  in  the 
depth  of  the  scallop,  three  chain,  one  double  treble 
through  the  next  two  loops  of  hairpin  together,  three 
chain,  one  treble  through  two  next  loops  together,  three 
chain,  one  double  treble  through  two  next  loops  together 
three  chain.  Repeat  from  beginning  of  row. 

3rd  row:  One  treble  separated  by  one  chain  into  each 
alternate  stitch  of  last  row. 

BORDER  IN  HAlRriN-WORIC  AND  CROCHET  FOR  SHET¬ 
LAND  OR  EIS  WOOL  SHAWL. 


Fig.  112. 


A  fork  two  inches  across  is  required  for  the  hairpin- 
work,  and  in  making  it,  two  double  are  crocheted  instead 
of  one  double  between  each  turning  of  the  fork. 


AND  HOW  TO  USE  THEM.  235 

When  you  have  made  the  length  required  (using  Shet¬ 
land  or  Eis  Wool),  work  as  follows: 

1st  row:  One  double  through  twenty-two  loops  of  hair¬ 
pin-work  together,  crossing  as  in  illustration  by  taking 
the  second  eleven  loops  on  the  needle  before  the  first 
eleven,  seven  chain,  one  single  into  centre  of  hairpin- 
work  (see  design),  seven  chain.  Repeat  from  beginning 
of  row. 

2nd  row :  Draw  up  three  loops  through  double  of  last 
row,  leave  the  loops  standing  out,  work  one  double  into 
the  same  stitch,  two  chain,  pass  over  two  stitches,  one 
single  into  the  next,  five  chain,  one  single  into  the  double 
of  last  row,  five  chain.  Repeat  from  the  beginning  of 
last  row. 

3rd  row:  One  double  into  the  three  loops  that  were 
left  standing  up  of  last  row,  three  chain,  one  single  into 
each  of  the  three  next  successive  stitches,  draw  up  three 
loops  through  the  next. 

4th  row :  One  single  into  the  second  of  three  chain  of 
last  row,  four  chain,  one  double  into  the  next  three  loops 
together,  four  chain,  one  single  into  second  of  three 
chain,  five  chain,  pass  over  four  stitches,  and  repeat  from 
the  beginning  of  the  row. 

5th  row:  One  single  into  the  third  of  four  chain  of  last 
row,  two  chain,  take  another  length  of  liairpin-work  and 
work  oue  single  into  a  centre  stitch,  then  one  single  into 
the  double  of  last  row,  two  chain,  pass  over  one  stitch, 
one  single  into  the  next,  three  chain,  one  double  into 
twenty-two  loops  of  liairpin-work  together,  cross  the 
loops  as  in  the  first  row,  three  chain.  Repeat  from  the 
beginning  of  the  row. 

For  the  heading:  Work  a  row  like  the  first  on  the 
other  side  of  hairpin-work,  then  work  one  double  into 
double  worked  in  the  loops  of  hairpin-wprk,  ten  chain, 
and  repeat. 

For  the  edge :— 


236 


NEEDLES  AND  BRUSHES 


1st  row:  Like  tlxe  first  row  worked  on  the  other  side. 

2nd  row:  Draw  up  three  loops  through  the  double 
worked  into  the  hairpin-loops,  six  chain,  one  double  into 
next  double,  six  chain.  Repeat  from  the  beginning  of 
the  row. 

3rd  row:  Draw  up  three  loops  through  the  first  of 
six  chain,  six  chain,  one  double  into  next  double,  six 
chain,  draw  up  three  loops  through  the  last  of  six  chain, 
one  single  into  three  loops.  Repeat  from  the  beginning 
of  the  row. 

4th  l’ow:  One  single  through  the  first  three  loops 
together,  and  draw  up  three  loops  through  the  same 
loops,  five  chain,  one  double  into  next  double,  five  chain, 
work  up  three  loops  through  next  three  loops  together, 
two  chain,  work  up  three  loops  through  the  last  chain, 
one  chain.  Repeat  from  the  beginning  of  the  row. 

5th  row:  Work  up  three  loops  through  the  first  three 
loops  of  last  row,  four  chain,  one  double  into  next  double, 
four  chain,  work  xip  three  loops  through  the  next  three 
loops  together,  one  chain,  work  up  three  loops  through 
this  stitch,  one  single  through  the  next  three  loops 
together,  one  chain,  work  up  three  loops  through  this 
chain,  and  repeat  from  the  beginning  of  the  row. 

6th  row:  Work  up  three  loops  through  first  three 
loops  together,  six  chain,  one  double  into  next  double, 
five  chain,  one  single  into  first  of  six  chain,  five  chain, 
one  double  into  the  same  stitch  last  double  was  worked 
into,  five  chain,  work  up  three  loops  through  next  three 
loops  together,  one  chain,  work  up  three  loops  through 
the  chain,  work  up  three  loops  through  the  next  three 
loops  together,  one  chain,  work  up  three  loops  through 
the  chain,  work  up  three  loops  through  the  next  three 
loops  together,  one  chain,  work  up  three  loops  through 
the  chain.  Repeat  from  the  beginning  of  the  row. 

7th  row:  One  single  into  the  first  of  five  chain  of  last 
row,  one  single  through  the  three  loops  together,  three 


AND  HOW  TO.  USE  THEM. 


237 


chain,  one  single  through  the  same  three  loops,  repeat 
from  *  five  times  more,  then  repeat  from  the  beginning 
of  the  row. 

Figure  113  shows  a  very  pretty  way  of  trimming  a 


Fig.  113. 


wicker  work  basket  with  hairpin-  work  and  tassels.  The 
basket  has  a  full  lining  of  silk.  It  is  easier  to  line  the 
sides  first,  sewing  the  upper  edge  of  the  lining  on  and 
turning  it  over  so  as  to  conceal  the  seam.  Then  cut  a 
piece  of  stiff  paper  or  cardboard  exactly  fitting  into  the 
bottom  of  the  basket,  cover  it  with  the  silk  used  for 
lining  the  basket,  and  either  fasten  it  in  place  by  means 
of  a  little  gum  or  glue,  or  catch  it  down  with  a  few 
stitches. 


238 


NEEDLES  AND  BRUSHES 


Iu  tlie  pattern  basket,  the  hairpin-work  (Figure  114) 


Fig.  114. 

was  done  with  Berlin  wool  and  gold  thread  while  the 
tassels  were  of  silk.  The  hairpin-work  is  made  in  two 
widths,  and  sewed  together.  In  the  widest,  three  double 
are  crocheted  between  each  turn  of  the  fork.  The  tassels 
are  made  by  winding  silk  or  wool  round  a  card  of  the 
requisite  width.  After  a  sufficient  quantity  is  wound, 
take  a  worsted  needle  threaded  with  the  wool,  doubled, 
pass  through  the  upper  edge,  and  tie  tightly  (having 
removed  the  card),  tie  again  a  short  distance  from  the 
top.  Cut  the  lower  edge  or  not  as  you  fancy.  Some 
comb  the  tassels  which  makes  them  soft  and  fluffy;  when 
this  is  done  they  should  be  made  rather  extra  large  as 
the  combing  reduces  the  size. 

Another  variety  of  crochet  gimp  is  worked  over  a 
wooden  fork,  having  one  side  much  wider  than  the  other. 

It  can  be  eaily  whittled  from  soft  wood  and  sand¬ 
papered  until  perfectly  smooth.  To  make  the  fringe 
shown  iu  Figure  115  make  a  loop  of  wool,  pass  it  over 
the  narrow  side  of  the  fork,  turn  the  fork,  and  you  will 
have  a  loop  over  the  wide  side;  draw  up  a  stitch  through 
the  first  loop  on  the  hook,  turn  the  fork,  draw  up  a  stitch 
through  the  narrow  loop,  draw  through  both  loops  on 


AND  HOW  TO  USE  THEM 


239 


the  hook  together.  Repeat  from  *  for  the  length 
required. 


Fig.  115. 

For  the  crochet  heading,  which  is  worked  with  a 
lighter  color  of  wool: 

1st  row:  One  double  into  of  the  wide  loops  of  the 
fork,  work  together,  turning  the  loops  as  shown  in  Fig. 
115,  two  chain.  Repeat. 

2nd  row:  One  double  under  two  chain,  three  chain. 
Repeat. 

For  the  edge:  Work  one  double  into  two  of  the  small 
loops  (see  cut),  five  chain,  repeat.  Strands  of  wool, 
about  one  and  a  half  inches  deep,  are  knotted  into  the 
loop  of  five  chain  to  form  tassels;  a  little  ball  of  the 
lightest  shade  of  wool  is  sewn  under  the  heading  at 
equal  distances. 

This  fringe  could  be  made  deeper  by  fastening  two  or 
more  rows  of  the  liairpin-work  together,  before  crochet¬ 
ing  the  heading  and  edge.  The  loops  of  each  should  be 


240 


NEEDLES  AND  BRUSHES 


twisted  as  in  the  design  in  this  case.  This  would  form 
a  suitable  trimming  for  such  a  small  round  table  as  is 
shown  in  Figure  139,  page  303.  The  top  of  the  table  can 
be  covered  with  plush  or  felt. 

Figure  116  shows  a  basket  work  stand  with  trimming 


Fig.  116. 


made  of  fork  work  after  design  in  Figure  117,  the  wide 
loops  being  caught  together  at  regular  intervals  with 
woolen  balls.  The  same  trimming  can  be  used  on  various 
shaped  baskets.  Used  as  an  edging  for  a  band  of  em¬ 
broidered  felt  it  would  be  very  pretty  for  a  trash  basket. 


AND  NOW  TO  USE  THEM.  241 

It  could  also  be  used  as  an  edging  for  a  table  or  mantel 
drapery. 


Fig.  117. 


Pig.  ns. 

Make  the  length  required  in  ordinary  hairpin-work. 
Then  work 

One  double  in  a  loop  of  hairpin-work,  three  chain, 
one  double  in  the  next,  two  chain,  one  double  in  the 
next,  one  chain,  put  the  hook  through  eight  loops  of 
hairpin-work,  pull  through  with  one  single,  one  chain, 
one  double  in  the  next  loop  of  hairpin-work,  two  chain, 
one  double  in  the  next  loop;  turn,  four  chain,  one  double 
in  the  first  of  the  first  two  chain,  turn  and  work  five 


242 


NEEDLES  AND  BRUSHES 


double  under  the  four  chain,  one  double  into  the  next 
loop  of  hairpin-work,  three  chain,  oue  double  into  the 
next  loop.  Repeat. 

For  the  edge  round  the  scallop  begin  in  the  deep  part 
of  scallop.  Work  two  loops  together  four  times  in  suc¬ 
cession  with  one  double,  taking  four  loops  from  one  side 
and  four  from  the  other,  separated  by  three  chain,  one 
double  into  six  successive  loops,  three  chain.  Repeat 
from  beginning  of  row. 

ANOTHER  EDGING. 

Make  the  length  required  in  hairpin-work. 

1st  row:  *  One  double  in  three  successive  loops  of 
hairpin-work  with  one  chain  between,  twelve  chain,  oue 
single  through  nine  successive  loops  of  hairpin-work, 
two  chain,  one  single  in  the  ninth  of  twelve  chain,  two 
chain,  one  single  in  the  sixth  of  twelve  chain,  five  chain; 
repeat  from  *. 

2nd  row:  One  treble  in  the  first  double  of  last  row, 
two  chain,  pass  over  two,  one  treble  in  the  next. 

For  the  edge,  begin  in  the  depth  of  the  scallop,  *  oue 
double  in  four  successive  loops  of  hairpin-work,  five 
picots  (of  five  chain,  oue  double  in  the  fourth)  with  one 
double  after  each  picot  in  five  successive  loops  of  hair¬ 
pin-work,  three  double  in  three  successive  loops  of  hair¬ 
pin-work;  repeat  from  *. 

CROCHET  EDGING. 

This  edging  is  very  pretty  for  trimming  underclothing 
when  fine  crochet  cotton  is  used,  and  in  seine  twine  will 
make  a  good  edge  for  draping  a  mantle  or  bracket.  A 
very  serviceable  tidy  can  be  made  from  this  pattern  also 
by  repeating  the  shells  and  open  work  (omittiug  the 
scallops),  until  the  required  width  is  worked.  When 
the  tidy  is  long  enough,  cast  off,  tie  fringe  of  the  cord 


AND  HOW  TO  USE  THEM. 


243 


into  the  bottom  and  run  satin  ribbon  through  the  open 
work  stripes.  Tiie  edging  is  worked  as  follows: 


Fig.  119. 


1st  row:  Nineteen  chain  stitches. 

2nd  row:  Three  double  stitches  on  eleventh  chain, 
two  chain,  three  double  on  next  stitch,  three  chain,  one 
single  chain  on  the  fourth  following  stitch,  three'chain, 
three  double  chain  on  the  fourth  following,  two  chain, 
three  double  chain  on  the  next  stitch. 

3rd  row:  Two  chain,  six  double,  the  middle  two  of 
which  are  separated  by  two  chain,  on  the  two  chain  be¬ 
tween  six  double  chain  on  preceding  row,  three  chain, 
one  single  crochet  on  single  crochet  of  preceding  row, 
three  chain,  six  double,  the  middle  two  of  which  are 
separated  by  two  chain  on  the  next  two  chain  between 
six  double  two  chain,  one  double  on  middle  of  next  five 
chain. 

4th  row:  Five  chain,  six  double,  separated  by  two 
chain  as  in  preceding  row,  on  the  next  two  chain  between 
six  double,  seven  chain,  six  double  as  before  on  the  next 
two  chain  between  six  double  chain. 

5th  row:  Three  chain,  six  double  as  before  on  the  next 
two  chain  of  preceding  row,  three  chain,  one  single 
crochet  on  the  middle  of  next  seven  chain,  three  chain, 
six  double  as  before  on  the  next  two  chain  betweeu  six 
double,  two  chain,  one  double  on  the  middle  of  next  five 
chain. 

6th  row:  Five  chain,  six  double  as  before  on  the  next 
two  chain  between  six  double,  three  chain,  one  single 
crochet  on  the  next  single  crochet,  three  chain,  six 


244 


NEEDLES  AND  BRUSHES 


double  as  before  on  the  next  two,  one  chain,  seven 
double  separated  each  by  one  chain  on  the  next  three 
chain,  one  chain,  one  sing'le  on  tbe  chain  before  the  next 
six  double  at  the  beginning  of  third  row. 

7th  row:  Six  times  alternately  five  chain,  one  single 
crochet  on  tbe  next  chain  between  two  double  in  the 
preceding  row;  then  five  chain,  one  single  on  the  chain 
before  the  next  six  double,  two  chain,  six  double  as  be¬ 
fore  on  the  next  two  chain,  seven  chain,  six  double  as 
before  ou  the  next  two  chain,  two  chain,  one  double  on 
the  middle  of  the  next  five  chain. 

Continue  the  pattern  in  the  manner  of  the  last  four 
rounds,  observing,  however,  that  the  pattern  figure  of 
the  open  work  middle  strip  only  comprises  three  rounds, 
while  the  other  part  of  the  edging  requires  four  rounds. 

It  will  be  an  easy  matter  to  make  this  pattern  deeper 
by  repeating  the  shells  and  open  strip. 


KNITTING 


It  is  almost  impossible  so  to  describe  the  way  in  which 
the  knitting-  stitch  is  formed  as  to  enable  the  worker  to 
teach  herself,  find  fortunately  it  is  almost  as  needless  as 
it  is  difficult.  Everyone  has  a  friend  who,  in  a  few 
minutes  will  teach  the  first  steps  in  this  fascinating- 
occupation. 

There  are  two  ways  of  kuittiug,  known  respectively  as 
German  or  English  knitting.  The  difference  lies  merely 
in  the  manner  of  holding  the  thread.  The  German  is  by 
far  the  easier,  and  enables  one  to  knit  more  quickly  and 
evenly,  while,  at  the  same  time,  it  is  far  less  fatiguing 
than  the  English  method. 

To  knit  in  the  german  WAY  you  must  hold  your  yarn 
or  thread  as  if  for  crochet,  and  form  the  stitch  by  put¬ 
ting  your  right  hand  needle  through  the  first  stitch  on 
the  needle,  catch  up  the  thread,  which  is  held  in  place 
on  the  left  fore  finger  and  draw  it  through  the  stitch. 
In  order  to  seam  or  purl,  put  the  thread  over  the  needle 
in  the  left  hand;  put  the  right  hand  needle  back  of  the 
thread,  and  into  the  stitch  from  the  outside;  catch  the 
thread  on  the  right  hand  needle  and  draw  through. 

Decreasing  is  done  by  knitting  two  stitches  together, 
or  else  by  slipping  a  stitch,  that  is,  taking  it  off  the 
needle  without  knitting,  and  knitting  a  stitch,  and  slip¬ 
ping  the  unknitted  stitch  over  the  last  knitted  one. 
Sometimes  two  stitches  are  decreased  at  once,  by  slip- 

245 


246 


NEEDLES  AND  BRUSHES 


ping-  one,  knitting  two  together,  and  slipping  the  uu- 
knitted  stitch  over  the  two  knit  together. 

Increasing,  or  making  a  stitch  is  done  by  throwing  the 
thread  once  round  the  needle,  and  in  the  next  row  knit¬ 
ting  it  as  an  ordinary  stitch. 

To  knit  A  round,  knit  with  four  needles,  cast  on— let 
us  say,  twenty-two  stitches  on  the  first  needle,  insert  a 
second  needle  in  the  last  stitch  of  the  first,  and  cast  on 
twenty  stitclies;  proceed  in  the  same  way  with  a  third 
needle,  casting  on  eighteen  only;  then  knit  the  two 
extra  stitches  on  the  first  needle  on  to  the  last — this 
makes  twenty  stitches  upon  each  needle,  and  thus  com¬ 
pletes  the  circle. 

To  cast  off,  knit  two  stitches  and  with  the  left  hand 
needle  slip  the  first  stitch  over  the  second;  continue  to 
the  end  of  the  row. 

Picking  up  a  stitch  is  done  by  taking  up  a  thread, 
and  knitting  it  as  a  stitch. 

The  following  abbreviations  are  those  generally  used 
in  directions  for  knitting. 

K  1  -  -  -  -  Knit  one  plain. 

P  -  -  -  -  Purl  or  seam. 

Ml  -  -  Increase  or  make  one. 

D  1  •  -  -  -  Decrease  one. 

SI  1  -  -  -  Slip  one. 

K  2  t  -  -  Knit  two  together. 

T  T  O  or  Tho  -  Throw  thread  over. 

T  K  -  -  -Twisted  knitted  stitch. 

T  P  -  -  -  Twisted  purl  knitted. 

A  star  shows  where  a  repeat  of  the  pattern  is  begun. 

Garter  stitch  is  plain  knitting  back  and  forth;  many 
pretty  afghans  are  knit  in  this  way,  in  long  strips,  the 
strips  being  afterwards  crocheted  together.  A  very 
pretty  one  can  be  made  of  double  zephyr  wool,  four  of 
the  strips  being  an  olive  green,  and  three  knit  in  Roman 
stripes.  The  stripes  are  joined  with  black  and  yellow 


AMD  MOW  To  USB  TEEM. 


247 


wool.  The  plain  strips  are  forty  stitches,  the  Roman 
ones  fifty  stitches  wide.  It  is  fiuished  at  either  end 
by  a  fringe  of  the  different  colors  used  in  the  several 
stripes.  For  the  Roman  stripe,  begin  with  *  eighteen 
rows  of  red,  one  of  white,  one  of  red,  one  of  yellow,  one 
of  blue,  one  of  red,  one  of  blue,  one  of  white,  eighteen  of 
blue,  one  of  white,  one  of  red,  one  of  yellow,  one  of  blue, 
one  of  red,  one  of  blue,  one  of  white,  eighteen  of  black, 
one  of  white,  one  of  red,  one  of  yelloAv,  one  of  blue,  one 
of  red,  one  of  white,  one  of  blue,  eighteen  of  white,  one 
of  blue,  one  of  white,  one  of  red,  one  of  yellow,  one  of 
blue,  one  of  red,  one  of  white,  repeat  from  *. 

A  very  comfortable  and  substantial  shawl  is  a  square 
knit  in  garter  stitch,  and  bordered  with  one  of  the  knit 
edgings  given  a  little  further  on.  Germantown  wool  is 
very  nice  for  this  purpose. 

Brioche  is  an  extremely  pretty  and  useful  stitch.  It 
is  very  elastic,  and  looks  the  same  on  both  sides. 

Cast  on  any  even  number  of  stitches,  and  with  two 
needles  work  backward  and  forward  as  follows: 

1st  row:  Over  (at  the  edge  this  is  done  by  simply 
putting  the  right  hand  needle  under  the  wool),  slip  one, 
as  if  about  to  purl  it,  knit  one.  Repeat  from  the  begin¬ 
ning. 

2nd  row :  Over,  slip  one,  as  if  about  to  purl,  knit  two 
together.  Repeat.  • 

Every  subsequent  row  is  like  the  second.  In  casting 
off,  look  upon  the  double  stitch — the  two  usually  knit 
together— as  one.  In  narrowing  in  this  pattern,  knit 
together  the  three  stitches — the  slipped  stitch  and  the 
double  stitch — which  form  one  rib,  and  on  the  next  row 
knit  the  stitch  thus  made  with  the  double  stitch  preced¬ 
ing  it. 

German  brioche  is  another  form  of  this  stitch.  In 
knitting  it.  east  on  any  number  of  stitches  in  threes. 
All  the  rows  are  knit  thus:  Slip  one,  as  if  about  to  purl 


m 


NEEDLES  AND  BRUSHES 


over,  knit  two  together.  The  over  or  made  stitch  must 
always  be  slipped  and  the  decreased  stitch  and  the  slip¬ 
ped  stitch  of  the  previous  row  knitted  together. 

SOFA  CUSHION. 

A  pretty  sofa  cushion  or  hassock  is  knit  in  German 
Brioche  as  follows: 

Three  skeins  yellow,  two  white,  three  red,  three 
purple,  three  green,  six  gray,  of  double  Berlin  wool. 
Needles,  No.  5. 

Cast  on  sixty-four  stitches  with  yellow. 

1st  row:  AYool  forward;  slip  one,  knit  one. 

2nd  row:  Join  the  white.  The  remainder  is  all 
brioche  stitch;  do  two  rows,  then  two  yellow  rows. 

Join  the  gray;  knit  eighteen  brioche  (this  is  really 
fifty-four  stitches),  leaving  fourteen  on  the  other  un- 
knitted.  Turn  back  and  knit  four  brioche;  turn  again 
and  knit  five  brioche ;  turn  and  knit  six.  Continue  tak¬ 
ing  three  more  stitches  every  time  you  turn,  until  you 
come  to  the  end  of  your  needles.  Then  do  another  yel¬ 
low  and  white  stripe. 

Join  the  scarlet,  and  work  as  before.  There  have  to  be 
eighteen  sections  altogether,  a  gray  one  separating  each 
oright-colored  one.  Make  a  round  cushion  filled  with 
feathers  or  curled  hair,  and  put  the  knitting  over,  sewing 
it  neatly  together.  Draw  in  the  centre,  which  may  be 
finished  off  with  an  ornamental  button;  sew  a  silk  cord 
round  the  edge. 

RUGS 

Very  handsome  hearth  rugs  may  be  knit  either  of  rags 
cut  and  sewed  as  for  rag  carpets,  and  knit  iu  garter 
stitch,  or  else  of  twine  with  bits  of  cloth,  strands  of  thick 
Smyrna  wool,  or  ravelings  of  tapestry  Brussels  carpet 
looped  in.  These  rugs  are  much  more  easily  managed  if 
knit  in  strips  or  blocks  and  afterwards  sewed  together. 
They  may  be  made  oblong,  oval,  or  round  as  suits  one’s 
taste.  The  colors  may  be  arranged  so  as  to  form  a  sort 


AND  HOW  TO  USE  THEM. 


249 


of  pattern.  Thus,  in  one  rug  in  my  own  possession,  the 
centre  is  a  small  oblong  piece  of  about  twice  as  long  as 
it  is  wide.  This  is  bordered  by  a  strip  of  dark  green, 
again  surrounded  by  a  stripe  of  red  and  black  mixed, 
and  all  bordered  with  a  narrow  edge  of  black.  In  an. 
other,  the  centre  is  a  small  square  of  what  is  commonly 
called  in  “hit  or  miss  ”  pattern,  blue,  yellow,  red  and 
black  being  the  predominating  colors.  Around  this  is  a 
piece  knit  in  gray  and  white  inch  wide  stripes  which  is 
sewed  round  the  square  piece  in  such  a  way  as  to  give 
a  circular  shape  to  the  mat.  The  edge  next  to  the 
square  is  slightly  gathered  in.  Next  comes  a  gray 
border,  and  then  a  piece  of  Roman  stripe  in  w  hich  the 
colors  used  in  the  centre  are  employed.  In  this  rug 
both  cotton  and  woolen  rags  are  used,  but  of  course  it 
would  be  much  handsomer  made  entirely  of  wroolen 
pieces. 


Fig.  120. 


Still  another  was  knit  in  one  piece  about  three-quart 
ers  of  a  yard  wide  and  of  a  proportionate  length.  It 
was  knit  iu  “hit  or  miss”  fashion,  a  great  deal  of  black 
being  used  and  the  colored  pieces  being  very  bright  and 


25U 


NEEDLES  AND  BRUSHES 


decided  in  color.  It  was  finished  by  a  fringe  of  worsted 
tied  into  either  end,  and  the  effect  was  quite  oriental. 

Figures  120  and  120a  give  the  pattern  and  manner  of 
knitting  another  kind  of  rug.  The  one  illustrated  is 
knit  of  heavy  Smyrna  wool  and  is  in  a  set  pattern,  but  a 
very  pretty  effect  is  produced  by  using  the  colors  so  as 


Fig.  120a. 

to  produce  a  kaleidoscopic  effect  for  the  centre,  then 
bordering  with  a  stripe  of  solid  color.  By  a  judicious 
choice  of  colors,  such  as  Pompeiian  red,  two  shades  of 
peacock  blue,  two  ot  olive  ana  dark  vood  brown,  a  good 
mutation  oi  a  Turkey  rug  may  be  obtaiueu. 

In  Knitting  tins  rug,  coarse  unbleached  knitting  cotton 
and  coarse  steel  knitting  needles  are  used.  The  wools 
must  be  cut  into  equal  lengths,  about  two  inches.  A 
good  plan  is  to  wind  them  on  a  mesh  and  then  cut  one 
side  with  a  sharp  knife.  < 

The  foundation  is  knit  in  plain  garter  stitch,  and  like 
the  rugs  described  above  are  more  easily  managed  in 
strips  or  blocks,  which  are  afterwards  sewn  together. 
To  knit  in  the  wool,  lay  the  end  of  the  wool  between  the 
last  knitted  stitch,  and  the  one  about  to  be  begun,  so 
that  the  shorter  half  is  in  front;  a  stitch  is  then  knitted 
off,  and  the  hind  end  of  the  wool  put  in  front,  holding 
tins  firm  at  the  same  time  with  the  fresh  laid  in  one, 
with  the  thumb  of  the  left  hand. 

Aftei  knitting  a  row  of  loops  in,  knit  one  row  perfectly 
plain,  and  then  knit  in  another  row  of  loops,  and  so  on 
to  the  end  of  the  strip.  In  knitting  these  strips,  always 
slip  the  first  stitch  and  knit  the  last  of  every  row  with- 


AND  HOW  TO  USD  THEM. 


251 


out  putting-  in  a  piece  of  wool.  Pieces  of  woolen  cloth 
may  be  used  instead  of  the  Smyrna  wool.  Tapestry 
Brussels,  carpeting  cut  into  strips  of  uniform  width  and 
then  raveled  out  also  furnish  nice  material  for  these  rugs. 

If  a  whole  rug  seems  too  great  an  undertaking,  a 
centre  of  handsome  carpetiug  (remuants  of  which  can  be 
procured  at  a  low  price  in  the  city  stores),  edged  with 


Fig.  121. 


a  wide  knit  border,  is  very  pretty.  These  rugs  should 
be  lined  with  old  carpeting,  gray  linen,  or  hemp  carpet. 

QUILTS. 

JFig.  121  is  an  extremely  pretty/  quilt  which  has 


252 


NEEDLES  AND  BRUSHES 

also  the  advantage  of  being  very  simple.  The  pattern  will 
be  best  understood  by  a  reference  to  the  border.  The 
centre  of  the  quilt  is  knit  in  squares  which  are  so  knit 
as  to  cause  the  pattern  to  run  diagonally  across  them. 

Oast  on  one  stitch,  and  knit  nine  rows  of  plain  garter 
stitch,  always  throwing  the  thread  round  the  needle  at 
the  beginning  of  each  row. 

When  you  have  ten  stitches  on  your  needle,  which 
should  be  at  the  end  of  the  ninth  row,  proceed  as 
follows: 

10th  row:  M  1,  P  4,  M  1,  K  1,  M  1,  P  5. 

11th  row:  M  1,  knit  plain  all  the  stitches  till  you  come 
to  the  first  made  stitch  in  the  last  row,  purl  three,  knit 
plain  to  the  end  of  tbe  row. 

12th  row:  M  1,  purl  all  the  stitches  until  you  come  to 
those  purled  in  the  last  row.  M  1,  K  3,  M  1,  purl  to  the 
end  of  the  row. 

13th  row :  M  1,  K  all  the  stitches  to  the  raised  pattern, 
purl  five,  K  to  the  end  of  the  row. 

14tli  row:  M  1,  purl  to  the  raised  pattern,  M  1,  K  1, 
slip  one,  knit  two  together  and  pass  the  slipped  stitch 
over  them.  K  1,  M  1,  purl  to  end  of  row. 

15th  row:  M  1,  K  to  raised  pattern,  purl  five,  K  to  end 
of  row. 

Repent  fourteenth  and  fifteenth  rows  six  times  more. 

Then  M  1,  P  to  raised  pattern,  K  1,  S  1,  knit  two  to¬ 
gether,  draw  slipped  stitch  over  these,  K  1;  P  to  end  of 
row. 

In  the  next  row,  M  1,  knit  to  pattern,  P  3,  knit  to  end 
of  row. 

To  finish  the  raised  pattern,  knit  the  three  stitches 
together.  The  other  stitches  of  this  row  are  purled. 

This  finishes  one  stripe  of  the  square.  Now  knit  as 
follows: 
a 

1st  row:  M 1,  P*j  -  —  v  1 


AND  MOW  TO  USB  THEM. 


253 


2nd  row:  M  1,  K. 

3rd  row:  M  1,  P. 

4tli  row:  M  1,  purl. 

5tli  row:  M  1,  knit,  plain. 

6 tli  row:  M  1,  purl. 

7tli  row:  M  1,  purl. 

8tli  row:  M  1,  knit  plain. 

9tli  row:  M  1,  purl, 
a  1 

The  lOtk  row  begins  the  pique  pattern. 

1st  row:  Ml,  P  1,  S  1,  letting  the  thread  lie  in  front 
of  the  slipped  stitch. 

2nd  row:  M  1,  P  throughout. 

Repeat  these  three  rows  five  times,  but  beginning  the 
alternate  rows  on  the  right  side  of  the  work  with  a  slip 
stitch  after  the  made  one,  and  then  a  purl  stitch,  which 
will  give  the  honeycomb  appearance  in  the  pattern. 

Repeat  the  rows  a-a,  and  begin  the  second  stripe  of 
raised  patterns.  The  row  beginning  this  stripe  should 
have  sixty  stitches,  and  has  nine  leaf  patterns.  Begin 
the  first  leaf  pattern  after  the  third  purled  stitch  in  the 
row. 

Having  knit  this  stripe,  repeat  from  a-a;  then  repeat 
the  pique  stripe;  repeat  from  a~a;  begin  the  third  leaf 
row : 

When  there  are  122  stitches  on  the  needles,  begin  to 
decrease  so  as  to  form  the  other  side  of  the  square. 
After  the  made  stitch  in  each  row,  knit  two  together, 
and  knit  two  together  before  the  last  stitch. 

Throughout  the  square,  never  neglect  the  made  stitch 
at  the  beginning  of  every  row. 

The  central  part  of  the  border  is  knit  after  the  same 
pattern,  only  omitting  the  made  stitch  at  the  beginning 
of  the  rows.  This  border  is  edged  on  the  one  side  with 
an  open  work  pattern  and  on  the  other  with  a  narrow 
lace.  For  the  open  work,  east  on  four  extra  stitches 


254 


NEEDLES  AND  BRUSHES 


(the  border  takes  twenty-nine),  and  for  the  lace  cast  on 
seven  extra. 

For  the  open  edge,  knit  the  four  stitches  at  one  side 


Fig.  121ft. 

of  the  border  always  thus:  K  2,  M  1.  T  2.  Always  slip 
the  iirst  stitch  of  the  row. 

Knit  the  lace  thus: 


AND  HOW  TO  USD  TEEM. 


255 


1st  row:  SI,  K  4,  Ml,  T. 

2nd  row:  K  2,  M  1,  T,  M  1,  T,  K  1. 

3rd  row:  S  1,  K  1,  then  K  1  and  P  1  out  of  the  made 
stitch,  K  2,  M  1,  T. 

4th  row:  K  2,  M  1,  T,  K  4. 

5th  row:  S  1,  K  5,  TVI  1,  T. 

6th  row:  K  2,  M  1,  T,  M  1,  T,  M  1,  T,  K  1,  K  2. 

7th  row:  S  1,  K  1,  then  K  1  and  P  1  out  of  the  made 
stitch,  K  1,  again  K  1  and  P  1  out  of  the  made  stitch, 
K  2,  M  1,  T. 

8th  row:  K  2,  M  1,  T,  K  7. 

9th  row:  S  1,  K  8,  M  1,  T. 

10th  row:  K  2,  M  1,  T,  M  1,  T,  M  1,  T,  M  1,  T,  K  1. 

11th  row:  S  1,  K  1,  then  K  1,  and  P  1  out  of  the  made 
stitch,  again  K  1  and  P  1  out  of  the  made  stitch,  P  2,  M 
1,  T. 

12th  row:  K  2,  M  1,  T,  K  10. 


Fig.  122. 


13th  row:  Seven  times  one  stitch  is  always  to  be  cast 
off.  K 4,  Ml,  T.  This  leaves  seven  stitches  on  the 
needle.  Bepeat  from  second  row^ 


256 


NEEDLES  AND  BRUSHES 


This  lace  makes  very  pretty  edging  knit  in  linen 
thread,  with  moderately  coarse  needles. 

Fig.  122  as  seen  in  the  illustration,  is  knit  in  blocks, 
six  segments  being  required  for  each  block. 

Cast  on  forty-one  stitches. 

1st  row:  Slip  first  stitch,  purl  eighteen,  put  your 
needle  in  at  the  back  of  next  stitch,  slip  it  off  without 
knitting,  knit  next  two  together,  putting  in  the  needle 
at  the  back  (T.  B.  hereafter  will  be  used  to  designate 
knitting  two  together  in  at  the  back  of  the  stitch),  put 
the  slipped  stitch  over  the  one  just  knitted,  purl  nine¬ 
teen. 

2nd  row:  Knit  plain.  The  first  stitch  of  each  row 
should  be  slipped. 

3rd  row:  Knit  two,  *  make  one,  T  B,  repeat  to  the 
middle,  take  in  three  at  the  back,  repeat  to  the  end  of 
the  row,  knitting  the  last  two  stitches  plain. 

4th  row:  Knit  plain. 

5th  row:  Knit  two,  make  one,  T  B  *  knit  two,  purl 
two,  repeat  from  *  to  the  middle,  take  in  three  at  the 
back,  knit  to  the  end  in  the  opposite  direction,  so  that 
the  last  six  stitches  will  be  knit  thus — knit  two,  make 
one,  T  B,  knit  two. 

6th  row:  Knit  four,  then  alternately  purl  two,  and 
knit  two  plain  the  last  four  stitches,  which  are  knit  alike 
at  the  end  of  every  row,  viz.,  make  one,  T  B,  knit  two. 

Bepeat  these  last  two  rows,  until  all  the  ribbed  knit¬ 
ting  is  narrowed  off  to  a  single  stitch,  after  which  knit 
plain,  always  remembering  to  take  in  three  stitches  at 
the  back  in  every  alternate  row. 

Figure  123  shows  how  these  sections  are  put  together. 
A  few  long  stitches  are  worked  with  a  needle  in  the 
centre. 

When  the  blocks  are  all  knitted,  they  are  sewed  to. 
gether,  half  blocks  being  used  down  the  sides,  so  as  to 
form  a  straight  edge.  If  preferred,  the  ends  can  be 


AND  HOW  TO  USE  THEM. 


257 


finished,  in  the  same  way,  and  a  border  of  cable  or  other 
fancy  knitting  pnt  around.  Or  the  ends  may  be  finished 
off  in  points,  using  whole  blocks  for  the  purpose,  and  the 
following  border  may  be  used. 


Fig.  123. 


[  This  border  must  be  knit  in  pieces  just  fitting  each 
point.  Cast  on  eight  stitches.  In  the  first  and  every 
alternate  row,  three  stitches  must  be  knit  together  at  the 
back,  in  the  middle  of  the  row.  In  order  to  keep  the 
same  number  of  stitches  on  the  needles,  one  must  be 
made  at  the  beginning  of  each  row.  Knit  as  follows: 

1st  row :  Slip  one,*  TB,  drop  the  next  foundation  stitch 
off  the  needle,  throw  your  thread  over  twice,  repeat  from 
*  to  the  end  of  the  row,  knitting  the  last  stitch,  and  not 
forgetting  the  narrowing  in  the  middle. 

2nd  row:  Knit  plain,  always  putting  your  needle  in 
at  the  back  of  the  second  made  stitch. 

*  3rd  row:  Purl,  making  one  stitch  at  the  beginning  or 
the  row,  and  knitting  three  together  at  the  back,  in  the 
middle  of  the  row. 


258 


NEEDLES  AND  BRUSHES 


4tli  row :  Knit  plain. 

5th  row:  Like  third. 

6th  row:  Like  fourth . 

7th  row:  Knit  plain,  increasing  at  beginning  of  the 
row,  and  narrowing  three  stitches  in  the  middle. 

8th  row:  Purl. 

9th  row:  Like  seventh. 

10th  row:  Like  eighth. 

Repeat  from  *  until  the  border  is  deep  enough,  then 
tie  a  fringe  in  after  one  of  the  patterns  given  under 
“Macrame  Lace.” 


ANOTHER  QUILT. 

This  quilt  is  knit  in  strips  and  sewn  together.  The 
pattern  would  also  form  a  good  border  for  a  quilt  knit 
in  squares  or  shells. 

Cast  on  seventy-three  stitches.  Always  slip  the  first 
stitch  on  each  row. 

1st  row:  Knit  plain. 

2nd  row:  Purl. 

3rd  row:  Slip  first  stitch  (as  in  every  row),  *  knit  two 
together,  six  plain,  thread  over,  knit  one,  thread  over, 
knit  one,  knit  six,  knit  two  together,  knit  two  together, 
knit  six,  thread  over,  knit  one. 

Repeat  from  *  twice,  making  three  herring  bones,  then 
knit  six,  thread  over,  knit  one,  thread  over,  knit  one, 
knit  five,  knit  two  together,  knit  one. 

Repeat  until  your  piece  of  knitting  is  long  enough  for 
your  quilt. 


CABLE  KNITTING. 

Cast  07i  eighteen  stitches  for  a  stripe,  thus  for  six 
plain  stitches  on  each  side  of  the  cable,  for  two  patterns 
thirty  stitches  will  be  required,  and  so  on. 

1st  row:  Purl  six,  knit  six,  and  purl  six. 

2nd  row:  Knit  six,  purl  six,  nit  six. 

3rd  row:  Like  first  row. 

4th  row:  Like  second  row. 

5th  row:  Like  third  row.  — 


AND  HOW  TO  USE  THEM. 


259 


6th  row:  Knit  six,  take  a  third  needle  and  purl 
three;  with  the  first  right-hand  needle  purl  the  next 
three  stitches,  and  knit  six. 

7th  row:  Purl  six,  knit  the  three  stitches  on  the  third 
or  additional  needle,  knit  the  three  stitches  on  the  left- 
hand  needle,  purl  six. 

8-th  row:  Like  second  row. 

Commence  again,  as  at  first  roAV. 

It  is  always  well  to  cast  on  several  stitches  each  side 
of  the  number  needed  for  the  pattern;  these  stitches  can 
be  knit  in  some  fancy  pattern  or  in  plain  garter  stitch. 

The  following  is  a  pretty  stitch  to  edge  the  cable 
pattern  with: 

Cast  on  six  for  each  pattern,  and  two  over,  so  as  to 
have  one  stitch  knitted  plain  on  either  side. 

1st  row:  Throw  the  thread  over,  purl  one,  purl  two 
together,  repeat. 

2nd  and  4th  rows:  Purl. 

i  EDGINGS. 

The  folloAving  edgings  can  be  knit  either  in  cotton  or 
linen  thread.  Knit  with  thread  on  rather  coarse  needles, 
they  are  very  lace  like  in  effect  and  make  extremely 
pretty  trimmings. 

VANDYKE  BOEDER. 

Cast  on  seven  stitches.  Knit  two  rows,  plain. 

3rd  roAv:  Slip  one,  knit  two,  bring  the  thread  for¬ 
ward,  knit  two  together;  bring  the  thread  forward  twice, 
knit  two  together. 

4th  row:  Bring  the  thread  forward,  knit  two,  purl  one 
knit  two,  bring  thread  forward,  knit  two  together,  knit 

one. 

5th  row:  Slip  one,  knit  two,  bring  the  thread  forward, 
knit^two  together,  knit  four. 

6th  row:  Knit  six,  bring  thread  forward,  knit  two  to¬ 
gether,  knit  one. 

7th  row:  Slip  one,  knit  two,  bring  thread  forward,  knit 


260 


NEEDLES  AND  BRUSHES 


two  together,  bring  thread  forward  twice,  kind  two  to¬ 
gether,  bring  thread  forward  twice,  knit  two  together. 

8th  row:  Knit  two,  purl  one,  knit  two,  purl  one,  knit 
two,  bring  thread  forward,  knit  two  together,  knit  one. 

9th  row:  Slip  one,  knit  two,  bring  thread  forward,  knit 
two  together,  bring  thread  forward  twice,  knit  two  to¬ 
gether,  bring  thread  forward  twice,  knit  two  together, 
bring  thread  forward  twice,  knit  two  together. 

10th  row:  Knit  two,  purl  one,  knit  two,  purl  one,  knit 
two,  purl  one,  knit  two,  bring  thread  forward,  knit  two 
together,  knit  one. 

1 1  th  row:  Slip  one,  knit  two,  bring  thread  forward, 
knit  two  together,  knit  nine. 

12th  row:  Cast  off  all  but  seven,  knit  four,  bring 
thread  forward,  knit  two  together,  knit  one. 

This  finishes  the  first  pattern,  iiepeat,  begin,  jing  at 
the  third  row. 

KNITTED  LACE. 

Cast  on  twelve  stitches  with  fine  cotton  or  thread. 

1st  row:  Slip  one,  knit  two,  purl  one;  knit  two  to¬ 
gether;  turn  the  thread  once  round  the  needle,  knit  two, 
purl  one,  knit  one;  turn  the  thread  once  round  the 
needle,  knit  two,  taken  together  at  the  back. 

2nd  row:  Slip  one,  knit  one;  turn  the  thread  twice 
round  the  needle,  knit  two,  purl  two  together;  turn  the 
thread  once  round  the  needle,  knit  one,  purl  two  to¬ 
gether;  turn  the  thread  twice  round  the  needle,  purl 
two  together,  knit  one. 

3rd  row:  Slip  one,  knit  two,  purl  one,  knit  two;  turn 
the  thread  once  round  the  needle,  knit  two  together, 
taken  at  the  back,  knit  one,  knit  two  together,  knit 
three. 

4th  row:  Slip  one,  turn  the  thread  once  round  the 
needle,  purl  one,  knit  two  together;  turn  the  thread 
once  round  the  needle,  knit  four,  purl  two  together; 


AND  HOW  TO  USE  THEM.  281 

turn  the  thread  twice  round  the  needle,  purl  two  to¬ 
gether,  knit  one. 

5th  row:  Slip  one,  knit  two,  purl  one,  knit  two,  knit 
two  together;  turn  the  thread  -wice  round  the  needle, 
knit  three,  purl  two  together,  kn; '  one. 

6th  row:  Slip  one,  kni  ;  one,  pass  the  slip  stitch  over 
it,  slip  one,  knit  one,  pass  the  slip  stitch  over  it;  slip 
one,  knit  one,  pass  the  slip  stitch  over  it;  slip  one,  knit 
two;  turn  the  thread  once  round  the  needle,  purl  two 
together;  knit  one,  turn  the  thread  twice  round  the 
needle,  purl  two  together,  knit  one. 

EDGING. 


Fig-.  124. 

Cast  on  seven  stitches. 

1st  row.  Slip  one,  knit  two,  make  one,  knit  two  to¬ 
gether  at  the  back,  make  two,  knit  two. 

2nd  row  :  Slip  one,  knit  oue,  knit  one  and  purl  one  in 
the  made^stitch ;  knit  two,  make  one,  knit  two  together 
at  the  back,  knit  one. 

3rd  row :  Slip  one,  knit  two,  make  one,  knit  two  to¬ 
gether  at  the  back,  knit  four. 

4th  row:  Cast  off  two,  knit  three,  make  one,  knit  two 
together  at  the  back,  knit  one. 

KNITTED  CUFF  AND  COLLAR. 

For  the  knitted  lace  shown  in  No.  126,  cast  on  nineteen 
stitches. 

1st  row:  Slip  one,  knit  two,  make  one,  knit  two  to¬ 
gether,  knit  one,  make  one,  knit  two  together,  knit  three, 
knit  two  together,  make  one,  knit  one,  knit  two  together, 
make  one,  knit  three. 


262 


NEEDLES  AND  BRUSHES 


2nd  iw:  Knit  three,  make  one,  knit  one,  knit  two 
together,  knit  one,  make  one,  knit  two  together  twice, 
knit  one,  make  one,  knit  one,  knit  two  together,  make 
one,  knit  one,  knit  two  together,  knit  one. 


Fig.  125. 


3rd  row:  Slip  one,  knit  two  together,  knit  one,  make 
one,  knit  two  together,  knit  one,  make  one,  knit  three 
together,  make  one,  knit  one,  knit  two  together,  make 
one,  knit  five. 

4th  row:  Knit  six,  make  one,  knit  two  together,  knit 
one,  make  one,  knit  one,  make  one,  knit  one,  knit  two 
together,  make  one,  knit  one,  knit  two  together,  knit  one. 

5th  row:  Slip  one,  knit  two  together,  knit  one,  make 
one,  knit  two  together,  knit  one.  make  one,  knit  one,  make 
one,  knit  one,  knit  two  together,  make  one,  knit  seven. 

6th  row:  Knit  eight,  make  one,  knit  two  together, 
knit  three,  knit  two  together,  make  one,  knit  one,  knit 
two  together,  knit  one. 

7th  row:  Slip  one,  knit  two  together,  make  one,  knit 
one,  knit  two  together,  knit  one,  knit  two  together,  knit 
one,  make  one,  knit  two  together,  knit  six. 

8tli  row:  Knit  five,  knit  two  together,  make  one,  knit 
one,  knit  two  together,  knit  one,  knit  two  together,  knit 
one,  make  one,  knit  two. 

9th  row:  Slip  one,  knit  one,  make  one,  knit  one,  knit 
two  together,  make  one,  knit  one,  make  one.  Knit  two 


AND  HOW  TO  USE  TEEM 


263 


together,  knit  one,  make  one,  knit  two  together,  knit 
four. 


10th  row:  Knit  three,  knit  two  together,  make  one, 
knit  one,  knit  two  together,  make  one,  knit  three,  make 
one,  knit  two  together,  knit  one,  make  one,  knit  two. 

11th  row:  Slip  one,  knit  one,  make  one,  knit  one,  knit 
two  together,  make  one,  knit  five,  make  one,  knit  two 
together,  knit  one,  make  one,  knit  two  together,  knit 
two. 

12th  row:  Knit  one,  knit  two  together,  make  one,  knit 
one,  knit  two  together,  make  one,  knit  one,  knit  two  to¬ 
gether,  i>ass  the  cotton  twice  round  the  pin,  knit  two 
together,  knit  two,  make  one,  knit  two  together,  knit  one, 
make  one,  knit  two. 

13th  row:  Slip  one,  knit  two,  make  one,  knit  two  to¬ 
gether,  knit  one, 'make  one,  knit  two  together,  knit  one, 
knit  one  and  purl  one  in  the  made  stitches,  knit  two  to- 


264 


NEEDLES  AND  BRUSHES 


gether,  make  one,  knit  one,  knit  two  together,  make  one, 
knit  three. 

Repeat  from  the  second  row  three  times  more,  then 
east  on  thirteen  stitches  for  the  top  of  collar. 

1st  row:  Knit  one,  slip  one,  make  one,  slip  one,  knit 
two  together,  pass  the  slipped  stitch  over  the  two  knitted 
together,  make  one,  knit  three,  make  one,  slip  one,  knit 
two  together,  pass  the  slip  stitch  over  two  knitted  to¬ 
gether,  make  one,  knit  two,  continue  the  second  row  of 
edge. 

2nd  row:  Commence  with  the  third  row  of  edge,  then 
kuit  two,  purl  nine,  knit  two. 

3rd  row:  Knit  one,  slip  one,  kuit  three,  make  one,  slip 
one,  knit  two  together,  pass  the  slip  stitch  over  the  two 
knitted  together,  make  one,  knit  live,  continue  with  the 
fourth  row  of  edge. 

4th  row:  Commence  with  the  fifth  row  of  edge,  then 
knit  two,  purl  nine,  knit  two. 

Continue  from  first  row  of  top  with  the  sixth  row  of 
edge,  then  the  second  row  of  top  with  the  seventh  row 
of  edge,  and  so  on,  till  you  have  worked  the  length 
required  of  the  hand,  when  you  cast  off  thirteen  stitches 
and  continue  the  lace  for  the  other  side. 

KNITTED  CAP. 

Materials:  Strutt’s  knitting-cotton,  No.  12;  steel 
pins,  No.  14. 

For  the  foundation  (see  Figure  127)  cast  on  eighty-five 
stitches,  and  one  over  for  the  slipped  stitch. 

1st  row:  Slip  one,  *  make  one,  kuit  two  together,  kuit 
seven,  knit  two  together,  make  one,  knit  one.  Repeat 
from  *  . 

2nd  row:  Slip  one  as  if  for  purling,  purl  one,  *  make 
one,  purl  two  together,  purl  five,  purl  two  together, 
make  one,  purl  three.  Repeat  from  *  .  End  with  make 
one,  purl  two. 


AND  HOW  TO  DSD  THEM 


265 


3rd  row:  Slip  one,  knit  two,  *  make  one,  knit  two 
together,  knit  three,  knit  two  together,  make  one,  knit 
five,  Repeat  from  *,  End  with  make  one,  knit  three. 


Fig.  127. 


4th  row :  Slip  one  as  if  for  purling,  purl  three,  *  make 
one,  purl  two  together,  purl  one,  purl  two  together,  make 
one,  purl  seven.  Repeat  from  *.  End  with  make  one, 
purl  four. 

Now  repeat  from  first  row.  The  top  and  bottom  are 
drawn  in  to  the  shape. 

For  the  lace  trimming  (Figure  128),  cast  on  as  many 
stitches  as  there  are  round  the  cap,  allowing  a  few  over 
for  sewing  on — about  216.  The  pattern  is  divisible  by 
six. 

1st  row:  *  Knit  five,  drop  the  next  stitch  on  the  left 


26(> 


NEEDLES  AND  BRUSHES. 


needle,  pick  up  the  back  one,  and  put  it  on  the  right- 
hand  needle.  Repeat  from  *. 

2nd  row:  Purl. 


Fig.  128. 


3rd  row:  Knit  one,  *  take  off  two  stitches  as  if  you 
were  going  to  knit  them  together,  take  the  under  one  on 
to  the  left  pin,  knit  it  together  with  the  next  stitch  on 
the  left  pin,  pass  the  second  stitch  on  the  right  needle 
over  the  last,  knit  one,  make  one,  knit  one,  make  one, 
knit  one.  Repeat  from  *. 

4th  row:  Purl. 

5tli  row :  *  Take  off  two  stitches,  and  work  as  before 
described  in  third  row,  make  one,  knit  three,  make  one. 
Repeat  from  *. 

6th  row:  Purl. 

7th  row:  *  Knit  two  together,  make  one,  knit  four. 
Repeat  from  *. 

8th  row:  Purl. 

9th  row:  Knit. 

10th  row:  Purl. 

lltli  row:  Knit  two  togethei',  *  make  one,  knit  two 
together.  Repeat  from  *. 


AND  HOW  TO  USE  THEM. 


261 


12th  row:  Slip  one,  knit  two  together,  *  make  one, 
knit  two  togeher.  Repeat  from  *  Oast  off.  On  top 
of  this  row,  crochet  as  follows : — One  quadruple  treble 
in  the  first  stitch,  one  chain,  pass  over  one.  Repeat. 

Sew  on  to  cap.  A  ribbon  is  run  through  the  treble 
row,  and  finished  with  a  bow  at  the  top  and  bottom  of 
cap. 

KNITTED  LACE. 

Cast  on  fourteen  stitches. 

Knit  one  plain  row: 

1st  row:  Slip  two,  knit  two,  make  one,  knit  two  to¬ 
gether  at  the  back,  knit  one,  make  one,  knit  two 
together  at  the  back,  slip  five,  pass  the  fourth  over 
the  fifth,  third  over  the  fourth,  second  over  the  third, 
slip  two  off  the  right-hand  needle  on  to  the  left,  make 
three,  knit  two  together. 

2nd  row:  Make  one,  knit  one,  purl  oue,  knit  one, 
purl  one  in  the  three  made  stitches,  knit  two,"  make 
one,  knit  two  together  at  the  back,  knit  one,  make  one, 
knit  two  together  at  the  back,  purl  two. 

3rd  row:  Slip  two,  knit  two,  make  one,  knit  two 
together  at  the  back,  knit  one,  make  one,  knit  two 
together  at  the  back,  knit  five. 

4th  row:  Make  one,  knit  two  together  at  the  back, 
knit  five,  make  one,  knit  two  together  at  the  back,  knit 
one,  make  oue,  knit  two  together  at  the  back,  purl  two. 

5th  row :  The  same  as  3rd  row. 

6th  row:  The  same  as  4th  row. 

7th  row:  The  same  as  3rd  row. 

8th  row :  The  same  as  4tli  row. 

9th  row :  The  same  as  3rd  row. 

10th  row:  The  same  as  4tli row. 

lltli  row:  The  same  as  3rd  row. 

12th  row:  The  same  as  4th  row. 

Repeat  from  first  row. 


2(58  NEEDLES  AND  BRUSHES 


KNITTED  LA.CE. 


Fig.  129. 

Cast  on  twenty-one  stitches,  and  knit  a  plain  row. 

1st  vow:  Slip  two,  knit  two,  make  one,  knit  two  to¬ 
gether  at  the  back,  make  two,  purl  two  together,  slip 
two,  knit  one,  pass  three  stitclies  separately  on  tlie  right 
hand  needle  over  the  last  stitch  on  the  right  hand 
needle,  make  two,  purl  two  together,  slip  two,  knit  one, 
pass  the  three  stitches  over  as  before,  make  two,  purl 
two  together,  slip  two,  knit  one,  pass  the  three  stitches 
as  before. 

2nd  row:  Slip  one,  *  knit  one,  purl  one,  knit  one,  purl 
one  (the  last  four  stitclies  are  worked  in  the  two  made 
stitches  of  the  previous  row),  knit  one,  repeat  from  *  , 
knit  one,  repeat  from  first  *  ,  knit  two,  make  one,  knit 
two  together  at  the  back,  purl  two. 

3rd  row:  Slip  two,  knit  two,  make  one,  knit  two  to¬ 
gether  at  the  back,  knit  fifteen. 

4th  row:  Slip  one,  knit  sixteen,  make  one,  knit  two 
together  at  the  back,  purl  two. 

5th  row:  The  same  as  third. 

6th  row:  The  same  as  fourth. 

Repeat  from  first  pattern  row. 


AND  EOW  TO  USE  THEM. 


269 


NECKERCHIEF  AND  HEAD-DRESS. 

The  design  is  shown  folded  over  as  a  neckerchief  in 
Figure  130.  Either  of  the  trimmings  shown  in  Nos.  131 
and  132  is  suitable  for  it. 


Fig.  130. 


It  may  be  made  in  white  or  colored  Lady  Betty,  or  in 
Shetland  wool;  with  pins,  No.  9  (bell  gauge). 

For  the  foundation,  in  plain  knitting,  cast  on  twelve 
stitches,  increase  one  at  the  beginning  and  end  of  each 
row  by  knitting  and  purling  the  second  stitch  from  tlie 
end;  when  you  have  one  hundred  stitches  on  the  needle 
decrease  to  twelve  again  by  knitting  two  together  at  the 
beginning  and  end  of  each  row. 

This  completes  the  foundation. 

For  lace  No.  131  cast  on  eighteen  stitches. 

1st  row:  Slip  one  as  if  for  purling,  slip  one,  knit  one, 
pass  the  slipped  stitch  over,  make  one,  slip  one,  knit 
one,  pass  the  slipped  stitch  over,  knit  three,  slip  one, 
knit  one,  pass  the  slipped  stitch  over,  make  one,  slip 
one,  knit  one,  pass  the  slipped  stitch  over,  knit  one, 
pass  the  second  stitch  on  the  right-hand  needle  over  it, 
make  one,  slip  one,  knit  one,  pass  the  slipped  stitch 
over,  knit  one. 


NEEDLES  AND  BRUSHES 


2nd  row :  Slip  one,  knit  three,  purl  one  in  the  same 
made  stitch,  knit  one,  knit  one,  purl  one  in  the  made 
stitch,  knit  live,  knit  one,  purl  one  in  the  made  stitch, 
knit  two. 


Fig.  131. 


3rd  and  4th  rows:  Plain  knitting. 

5th  row:  Slip  one  as  if  for  purling,  slip  one,  knit  one, 
pass  the  slipped  stitch  over,  make  one,  slip  one,  knit 
one,  pass  the  slipped  stitch  over,  knit  two,  slip  one,  knit 
one,  pass  the  slipped  stitch  over,  make  one,  slip  one, 
knit  one,  pass  the  slipped  stitch  over,  knit  one,  slip 
one,  kuit  one,  pass  the  slipped  stitch  over,  make  one,  knit 
three. 

6th  row:  Slip  one,  knit  two,  knit  one,  purl  one  in  the 
made  stitch,  knit  three,  knit  one,  purl  one  in  the  made 
stitch,  knit  four,  knit  one,  purl  one  in  the  made  stitch, 
knit  two. 

7th  and  8tli  rows:  Plain  knitting. 

9th  row:  Slip  one  as  if  for  purling,  slip  one,  kuit  one, 
pass  the  slipped  stitch  over,  make  one,  slip  one,  knit 
one,  pass  the  slipped  stitch  over,  knit  one,  slip  one,  knit 
one,  pass  the  slipped  stitch  over,  make  one,  slip  one,  knit 
one,  pass  the  slipped  stitch  over,  knit  three,  slip  one, 


AND  HOW  TO  USE  THE 31. 


271 


knit  one,  pass  the  slipped  stitch  over,  make  one,  knit 

three. 

10th  row:  Slip  one,  knit  two,  knit  one,  purl  one  in  the 
made  stitch,  knit  five,  knit  one,  purl  one  in  the  made 
stitch,  knit  three,  knit  one,  purl  one  in  the  made  stitch, 
knit  two. 

11th  and  12th  rows:  Plain  knitting. 

13th  row:  Slip  one  as  if  for  purling,  slip  one,  knit  one, 
pass  the  slipped  stitch  over,  make  one,  slip  one,  knit 
one,  pass  the  slipped  stitch  over,  knit  two,  slip  one,  knit 
one,  pass  the  slipped  stitch  over,  make  one,  slip  one, 
knit  one,  pass  the  slipped  stitch  over,  knit  one,  slip  one, 
knit  one,  pass  the  slipped  stitch  over,  make  one,  slip 
one,  knit  one,  pass  the  slipped  stitch  over,  slip  one,  knit 
one,  pass  the  slipped  stitch  over,  knit  one. 

14th  row :  Slip>  one  as  if  for  purling,  knit  two,  knit 
one,  purl  one  in  the  made  stitch,  knit  three,  knit  one> 
purl  one  in  the  made  stitch,  knit  four,  knit  one,  purl  one 
in  the  made  stitch,  kn.it  two. 

15th  and  16th  rows:  Plain  knitting. 

17th  row:  Slip  one  as  if  for  purling,  slip  one,  knit 
one,  pass  the  slipped  stitch  over,  make  one,  slip  one> 
knit  one,  pass  the  slipped  stitch  over,  knit  three,  slip 
one,  knit  one,  pass  the  slipped  stitch  over,  make  one, 
slip  one,  knit  one,  pass  the  slipped  stitch  over,  knit  one, 
pass  the  second  stitch  on  the  right  hand  needle  over  it, 
make  one,  slip  one,  knit  one,  pass  the  slipped  stitch  over, 
slip  one,  knit  one,  pass  the  slipped  stitch  over,  knit  one. 

18th  row:  Slip  one  as  if  for  purling,  knit  two,  knit  one, 
purl  one  in  the  made  stitch,  knit  one,  knit  one,  purl  one 
in  the  made  stitch,  knit  five,  knit  one,  purl  one  in  the 
made  stitch,  knit  two. 

19th  and  20th  rows:  Plain  knitting.  Repeat  from  5th 
row.  Sew  on  to  the  foundation. 

For  No.  132  cast  on  fifteen  stitches. 

1st  row:  Slip  one,  knit  eight,  make  one,  knit  two  to* 


272 


NEEDLES  AND  BRUSHES 


getlier,  make  one,  knit  two  together,  make  one,  knit  two 
together. 

2nd  row:  .Knit  plain,  knitting  and  purling  eaeh  made 
stitch. 


Fig.  132. 


3rd,  4th  and  5th  rows:  Plain  knitting. 

6th  row:  Cast  off  three,  knit  the  last  plain.  Repeat 
from  first  row. 


BABY’S  SHIRT. 


The  following  is  a  very  simple  rule  for  a  high-necked 
and  long-sleeved  shirt: 

Use  two-threaded,  all-wool,  Saxony  yarn;  ivory  or 
rubber  needles  of  the  ordinary  size  for  such  yarn. 

Cast  on  oue  hundred  stitches;  knit  thirty -two  rows 
plain;  this  forms  the  shoulder. 1 

33rd  row:  Slip  first  stitch,  knit  two  together,  the  rest 
plain. 

34th  row:  Plain. 

35th  row:  Slip  one,  knit  two  together,  the  rest  plain. 

36th  row:  Plain. 

37th  row:  Slip  one,  knit  two  together,  rest  plain. 

38th  row;  Plain. 

39th  row:  Slip  one,  knit  two  together,  rest  plain. 

40th  row:  Plain. 

41st  row:  Slip  one,  knit  two  together,  rest  plain. 

42nd  row:  Plain. 


AND  now  TO  USE  TEEM. 


2i  a 

43rd  row:  Slip  one,  kuit  two  together,  rest  plain. 

44th  row:  Plain. 

45th  row:  Slip  one,  knit  two  together,  rest  plain. 

Yon  have  now  narrowed  seven  times  on  one  edge;  now 
knit  fourteen  rows  plain.  Bind  off  thirty-five  stitches, 
then  knit  thirty-five  stitches  on  the  same  needle  again. 
This  leaves  an  opening  for  the  front.  Now  knit  fourteen 
rows  plain;  now  widen  one  stitch  at  the  beginning  of 
every  alternate  needle  (always  slip  first  stitch  until  you 
have  widened  seven  times) — you  will  then  have  one 
hundred  stitches  again.  Knit  thirty-two  rows  plain  and 
half  the  shirt  is  done.  Bind  off  thirty-five  stitches  for 
armhole;  make  thirty- five  stitches  again,  then  proceed 
as  for  the  front,  only  omitting  the  opening  in  front.  Bind 
off  all  the  stitches  and  sew  edges  together  from  the  bot¬ 
tom,  leaving  thirty-five  stitches  open  for  the  other  arm 
hole.  Sew  the  shoulders  together. 

For  Sleeves.  Cast  on  forty  stitches.  I£nit  eighty- 
eight  rows  plain.  Bind  off  all  but  eleven  stitches.  Knit 
these  until  a  little  square  is  formed;  bind  off.  This 
makes  a  gusset  for  top  of  sleeve.  Pick  up  the  loops  * 
on  the  lower  edge  of  the  sleeve  on  No.  15  steel  needles. 
Knit  a  ribbed  wrist  (knit  two,  purl  two)  about  one  and 
one-half  inches  long.  Sew  up  the  sleeve,  trimming  the 
side  of  gusset  to  the  straight  side.  Sew  the  point  of 
gusset  into  lower  notch  of  arm  hole. 

Crochet  a  row  of  shells  on  bottom  of  shirt.  Face  one 
side  of  opening  in  front  with  narrow  white  ribbon,  and 
sew  on  three  buttons.  For  holes,  crochet  a  looped  edge 
on  the  other  side  and  all  around  the  neck ;  also  a  row  of 
shells  around  the  neck.  Bun  a  narrow  ribbon  in  the 
holes  round  the  neck. 

LOW  NECKED  BABY  SHIRT. 

Cast  on  any  number  that  can  be  divided  by  ten. 

1st  row:  Knit  two  together,  knit  two,  thread  forward, 
knit  one,  thread  forward,  knit  three,  knit  two  together. 


274 


NEEDLES  AND  BRUSHES 


2nd  row :  Purl. 

3rd  row:  Plain  knitting1.  Repeat  from  first  row. 
This  forms  a  scalloped  pattern.  Knit  a  piece  several 
inches  deep,  then  knit  in  ribs  of  two  plain,  two  purl, 
until  tbe  shirt  is  the  required  length. 

These  shirts  are  knit  in  two  pieces,  which  are  after¬ 
wards  sewn  together,  leaving  an  opening  at  the  upper 
end  for  the  armhole. 

When  the  knitting  is  of  the  required  length,  finish 
with  a  row  of  holes  to  within  eight  inches  of  one  end. 
Cast  off  all  but  these  eight  inches,  and  knit  them  plain, 
carrying  a  row  of  holes  along  either  edge,  fora  shoulder 
strap.  (Holes  are  made  by  making  a  stitch  and  knitting 
the  next  two  together.  On  the  return  row,  knit  plain. 

Having  knit  both  pieces,  sew  up  and  finish  with  a  row 
of  shell  stitch  crocheted  into  the  upper  edge,  and  around 
the  arm  holes.  If  sleeves  are  desired,  knit  pieces  of  the 
requisite  size  in  the  scallop  pattern  and  sew  them  in. 
Run  a  narrow  ribbon  through  the  holes  in  the  neck,  and 
tie  in  a  bow. 

BABY’S  BOOT. 

A  very  simple  pattern  for  a  baby’s  boot  is  as  follows: 

White  Berlin  and  Needles  No.  13.  Cast  on  thirty;  and 
knit  twenty-four  rows  plain  on  in  any  fancy  stitch  you 
like,  for  the  leg;  for  the  last  row  *,  knit  two,  wool  over 
the  needle,  knit  two  together.  Repeat  from  *.  This 
forms  holes,  into  which  ribbon  must  be  run  after  the 
boot  is  finished. 

Twenty-fifth  row:  From  this  time  forward  you  must 
knit  one,  purl  one;  reversed  every  third  row,  to  make  a 
kind  of  dice  pattern.  Cast  on  eleven  extra  stitches  at  the 
end  of  each  of  the  next  two  rows,  making  fifty-two  in  all. 
Increase  at  the  beginning  of  every  row  until  there  are 
sixty-two  stitches;  do  four  plain  rows;  then  decrease 
in  the  same  way  till  you  have  only  fifty-two  again.  Take 


AND  HOW  TO  USE  THEM. 


275 


off  and  sew  up.  Crochet  a  double  scallop  at  top  in  bl  ue 
wool,  for  a  finish. 

KNITTED  PURSE. 

One  skein  blue  and  one  black  of  purse  twist. 

Cast  on  seventy-two.  Knit  two  together,  make  one, 
knit  one.  Repeat.  Second  row  plain.  When  broad 
enough  double  it  and  sew  up,  leaving  about  three  inches 
open  for  the  money  to  slip  in.  Finish  off  with  steel  rings 
and  tassels. 

ANOTHER  PURSE. 

One-half  ounce  E  E  Corticelli  Purse  Twist  or  one- 
half  ounce  No.  300  Florence  Knitting  Silk,  and  two  No. 
18  needles. 

Cast  on  to  one  needle  fifty-nine  stitches,  knit  across 
once  plain. 

2nd  row :  Purl  two  together,  then  repeat  until  only 
one  stitch  remains,  knit  one. 

3rd  row  and  every  two  after  until  the  sixty-fiftli  is 
reached,  the  same  as  the  second. 

Now  do  eiglity-tliree  rows  of  plain  knitting  (garter 
stitch),  then  knit  sixty-four  rows  of  the  fancy  pattern 
the  same  as  at  the  beginning,  knit  one  row  plain  and  cast 
off.  Sew  up  the  edges,  leaving  an  opening  of  two  and 
one  half  inches.  Finish  with  steel  rings  and  tassels  of 
steel  beads. 

Many  varieties  of  fancy  patterns  are  formed  by  com¬ 
binations  of  knitted,  purled,  and  slipped  stitches;  these 
patterns  being  useful  in  knitting  shawls,  tidies,  stock¬ 
ings,  etc.  When  used  for  round  knitting,  as  in  stockings, 
care  must  be  taken  to  reverse  the  stitch  in  every 
alternate  row,  that  is  a  plain  stitch  must  be  purled,  a 
purled  stitch  plain. 

RAIN  PATTERN. 

Fourteen  stitches  are  required  for  each  pattern. 

1st  row:  Knit  one,  thread  forward,  knit  five,  slip  one, 


276 


NEEDLES  AND  BRUSHES 


knit  two  together,  pass  the  slipped  stitch  over,  knit  five 
thread  forward.  Repeat.  This  makes  a  scallop. 

BARLEY-CORN  STITCH. 

This  simple  stitch  is  very  suitable  for  borders,  or  to 
use  as  an  edge  for  cable  or  plait  knitting. 

Cast  on  any  uneven  number  of  stitches. 

Slip  the  first  stitch,  keeping  the  thread  in  front  of  the 
needle;  turn  the  thread  round  the  needle,  so  as  to  bring 
it  in  front  again  ;  knit  two  together,  taken  in  front.  Con¬ 
tinue  turning  the  thread  round  the  needle  and  knitting 
two  together  to  the  end  of  the  row.  All  the  rows  are 
alike. 

CRAVAT:  KNITTING. 


Fig.  133. 


Berlin  or  Shetland  wool,  two  pins  Xo.  12  (bell  gauge). 
Cast  on  thirty -one  stitches,  knit  a  plain  row. 

1st  row:  Knit  four,  slip  one,  knit  one,  pass  the  slipped 
stitch  over,  make  one,  knit  one,  make  one,  slip  one. 


AND  HOW  TO  USE  THEM , 


277 


knit  one,  pass  the  slipped  stitch  over,  repeat  from  tlie 
beginning  of  this  row  twice  more;  end  with  knit  four. 

2nd  row:  Plain  knitting. 

3rd  row:  The  same  as  first. 

4th  row:  The  same  as  second. 

5th  row:  The  same  as  first. 

6th  row:  The  same  as  second. 

7th  row:  Knit  two  together,  make  two,  knit  two 
together,  slip  one,  knit  one,  pass  the  slipped  stitch  over, 
make  one,  knit  one,  make  one,  slip  one,  knit  one,  pass 
the  slipped  stitch  over;  repeat  twice  more,  end  with  knit 
two  together,  make  two,  knit  two  together. 

8th  row:  Knit  all  the  row  plain,  with  the  exception  of 
knit  one,  purl  one,  in  the  make  two  of  last  row. 

Repeat  from  first  row  until  sufficiently  long  to  tie.  Sew 
round  it  a  knitted  lace,  made  as  follows: 

Oast  on  ten  stitches. 

1st  row:  Slip  one,  knit  one,  make  one,  slip  one,  knit 
one,  pass  the  slipped  stitch  over,  slip  one,  knit  one,  pass 
the  slipped  stitch  over,  make  two,  slip  one,  knit  one, 
pass  the  slipped  stitch  over,  make  one,  knit  two. 

2nd  row:  Slip  one,  knit  three,  knit  one,  purl  one  in  the 
made  stitch,  knit  one,  make  one,  slip  one,  knit  one,  pass 
the  slipped  stitch  over,  knit  two. 

3rd  row:  Slip  one,  knit  one,  make  one,  slip  one,  knit 
one,  pass  the  slipped  stitch  over,  knit  four,  make  one, 
knit  one  at  the  back,  make  one,  knit  two. 

4th  row:  Slip  one,  knit  eight,  make  one,  slip  one,  knit 
one,  pass  the  slipped  stitch  over,  knit  two. 

5th  row :  Slip  one,  knit  one,  slip  one,  knit  one,  pass 
the  slipped  stitch  over,  knit  three,  make  one,  slip  one, 
knit  one,  pass  the  slipped  stitch  over,  make  one,  knit  one 
at  the  back,  make  one,  knit  one  at  the  back,  make  one, 
knit  two. 

6th  row:  Cast  off  five,  knit  five,  make  one,  slip  one, 


278 


NEEDLES  AND  BRUSHES 


knit  one,  pass  the  slipped  stitcli  over,  knit  two.  Repeat 
from  first  row : 

SILK  MITTENS. 

For  a  medium  sized  band,  wearing  six  and  one  half  or 
six  and  three-quarters,  cast  on  of  three  hundred  knitting 
silk  on  No.  20  needles  seventy-two  stitches. 

1st  row:  *  Purl  one,  knit  one,  purl  one,  knit  one,  over 
and  knit  one  eight  times.  Repeat  from  *  to  end  of  third 
needle. 

2nd  row:  *  Purl  one,  knit  one,  purl  one,  knit  seven¬ 
teen.  Repeat  from  * . 

3rd  row:  Purl  one,  knit  one,  purl  one,  slip  one,  knit 
one  and  throw  slipped  stitch  over,  knit  thirteen,  knit 
two  together.  Repeat  from  *. 

4th  row:  *  Purl  one,  knit  one,  purl  one,  slip  one,  knit 
one  and  throw  slipped  stitch  over,  knit  eleven,  knit  two 
together.  Repeat  from  *  . 

5th  row:  Purl  one,  knit  one,  purl  one,  slip  one,  knit 
one  and  throw  slipped  stitch  over,  knit  nine,  knit  two 
together.  Repeat  from  *  . 

Gth  row:  *  Purl  one,  knit  one,  purl  one,  slip  one,  knit 
one  and  throw  slipped  over,  knit  seven,  knit  two  to¬ 
gether.  Repeat  from  * . 

This  forms  one  row  of  shells.  Repeat  from  first  row 
until  there  are  nine  rows  of  shells  for  the  wrist.  Carry 
three  rows  of  shells  up  the  back  of  the  hand,  making  the 
purl  one,  knit  one,  purl  one  on  each  side.  To  form  the 
gore  of  the  thumb  wideu  about  every  fourth  row  until 
you  have  thirty-six  stitches,  making  a  purled  stitch  on 
each  side  of  gore  and  leaving  between  the  last  purl 
stitch  at  side  of  shell  and  purl  stitch  at  side  of  thumb 
three  stitches.  Shape  off  the  thirty-six  stitches  for  the 
thumb,  cast  on  twelve  for  the  hand  and  knit  plain  to  the 
end  of  the  little  finger  and  commence  narrowing. 

Reduce  number  of  stitches  in  shells  from  .nine  to  seven 


AND  ROW  TO  USE  TEEM. 


279 


and  when  near  the  top  to  five.  To  make  the  thumb, 
take  up  the  thirty-six  stitches,  pick  up  the  loops  under 
the  stitches  cast  one,  and  narrow  in  the  corners  to  twelve 
stitches  on  a  needle.  Knit  the  required  length  and  nar¬ 
row  off. 

For  a  smaller  size  cast  on  sixty  stitches  and  make  each 
shell  with  seven  instead  of  nine  stitches.  This  pattern 
does  equally  well  for  Saxony  yarn,  and  by  some  is  com 
sidered  as  pretty  as  silk. 

KNITTED  UNDER-VEST  FOR  LADIES. 

The  vest  is  commenced  at  the  lower  part.  The  number 
of  stitches  cast  on  must  be  regulated  by  the  size  of  the 
person  for  whom  the  garment  is  intended  with  the  pins 
and  wool  named;  when  knitted  moderately  loose,  eight 
stitches  must  be  cast  on  for  the  inch,  and  ten  rows 
knitted  to  the  inch. 

For  a  vest  measuring  twenty-four  inches  round ,  about 
one  hundred  and  ninety-two  stitches  must  be  cast  on. 

First  to  twentieth  rounds:  Knit  two  and  purl  two 
alternately.  Now  commence  the  basket  pattern  shown 
in  the  illustration. 

First  to  seventh  rounds:  Purl  three,  knit  one. 

From  the  eighth  to  fourteenth  rounds:  Reverse  the 
pattern  by  working  a  plain  stitch  in  the  centre  of  the 
three  purl  of  previous  seven  rounds.  These  seven 
rounds  are  repeated  alternately  fourteen  times  more. 

Divide  the  stitches  equally,  leaving  half  the  number 
for  the  back  on  one  pin.  Let  these  remain  without 
working  them,  until  the  fronts  are  knitted.  Divide  the 
stitches  of  the  front  equally  on  two  pins,  as  each  half 
must  now  be  worked  separately. 

For  the  wrap-over:  Cast  on  eight  stitches  on  the 
buttonhole  side;  these  must  be  knitted  throughout.  At 
equal  distances  make  three  buttonholes  by  knitting  two, 
cast  off  four,  and.  knit  two. 

In  the  following  row:  Knit  two,  cast  on  four,  and 


280 


NEEDLES  AND  BRUSHES 


knit  two;  these  buttonholes  must  have  ten  plain  rows 
between  each. 

The  fronts  must  now  be  knitted  back  and  forward, 
taking  care  to  keep  the  ribs  by  knitting  the  purl-stitches 
and  purling  the  knitted. 

Work  fourteen  rows  of  the  basket  pattern,  then  com¬ 
mence  the  gores;  work  twenty-four  stitches  next  the 
armhole;  commence  the  gore  by  picking  up  one  loop 
between  the  stitches  and  knitting  it  plain  (the  gores  are 
plain  knitting  throughout);  knit  twelve  stitches,  con¬ 
tinuing  the  pattern,  then  begin  the  second  gore;  again 
knit  twelve  stitches. 

In  the  three  following  rows:  Continue  the  pattern, 
and  knit  the  stitches  of  the  gores. 

In  the  fourth  row:  Increase  a  stitch  by  picking  up 
one  loop  before  and  one  after  the  made  stitches  for  the 
gores  and  knitting  them;  this  increase  is  continued  till 
you  have  the  gores  the  required  length. 

Cast  off  across  the  front,  leaving  twenty-four  stitches 
for  the  shoulder;  work  as  far  as  the  top  of  shoulder, 
which  you  must  judge  the  length  of,  by  the  size  of  arm¬ 
hole  needed;  cast  off'  the  twenty-four  stitches.  Work 
the  second  side  of  front  in  the  same  way,  Avith  the 
addition  of  the  wrap  and  buttonhole  before  described. 

Now  eontinue  the  back  as  far  as  required  till  you  have 
worked  it  from  four  to  six  rows  higher  than  the  front. 
Cast  off  all  but  the  twenty-four  stitches  on  each  side;  on 
these  work  the  shoulders  till  long  enough;  joiu  to  front 
shoulders  by  sewing  together.  Pick  up  the  stitches 
round  the  armhole  on  three  pins.  The  gusset  under  the 
arm  is  formed  by  knitting  two  stitches  together  in  every 
third  round  exactly  in  the  centre  of  under  part  of  sleeve. 
When  the  sleeve  is  the  required  width  continue  to  work 
round  without  decrease  for  twenty-one  rounds,  then  cast 
off. 


AND  HOW  TO  USE  THEM. 


281 


For  the  crochet  edge, which  is  worked  round  the  neck 
aud  sleeves: — 

1st  row:  One  double  into  each  stitch  at  the  edge. 

2nd  row:  One  treble  into  a  stitch,  one  chain,  pass 
over  one  stitch,  and  repeat  from  the  beginning  of  the 
row. 

3rd  row:  One  double  under  one  chain,  four^chain, 
one  double  under  same  chain,  three  chain,  pass  over 
three  stitches,  and  repeat  from  the  beginning  of  the  row. 

4th  row:  One  treble  under  four  chain,  three  chain, 
two  trebles  under  four  chain,  three  chain,  two  trebles 
under  four  chain,  three  chain,  one  treble  under  four 
chain,  one  double  under  three  chain.  Repeat  from  the 
beginning  of  the  row'. 

A  ribbon  is  run  through  the  second  row  of  the  neck, 
and  is  tied  in  front  in  a  bow'. 

BIRD  NEST  MATS. 

Cut  a  circular  piece  of  cardboard  of  the  size  desired 
for  the  mat;  cover  it  with  silk,  silesia,  or  any  appropriate 
material  of  a  color  harmonizing  with  the  worsted  used 
for  the  border.  Shaded  green  is  the  prettiest  color  for 
these  mats.  Cast  on  sufficient  stitches  to  make  five  or 
six  inches  in  knitting,  and  cut  a  number  of  pieces  of 
wrool  into  eight  inch  lengths.  Knit  as  directed  for 
Smyrna  rug  (page  250)  until  you  have  a  strip  sufficiently 
long  to  go  round  the  cardboard  foundation.  Cast  off  and 
comb  out  the  knit  in  pieces  until  they  are  soft  and  fluffy. 
Sew  one  edge  on  to  the  foundation,  letting  the  other 
edge  stand  up.  Turn  this  inside  and  catch  to  the  back 
of  the  knitting  at  a  depth  of  tw'o  inches. 

FICELLE  LACE  FOR  MANTEL. 

This  is  merely  lace  knit  or  crocheted  from  cord  or 
twine.  It  is  much  used  in  the  place  of  Macrame,  being 
much  more  expeditiously  made.  In  the  chapter  on 
crochet,  some  patterns  are  given  for  this  work,  but  as 


282 


NEEDLES  AND  BRUSHES 


some  prefer  knitting,  I  subjoin  a  simple  pattern.  Many 
of  the  lace  patterns  would  look  very  pretty  in  twine. 
Linen  twine  is  the  best,  as  it  does  not  soil  so  quickly  as 
the  seine  twine. 

Cast  on  forty -three  stitches. 

1st  row:  Knit  four  plain,  then  make  one;  knit  two 
together,  knit  one  plain,  repeat  this  to  the  end  of  the 
row. 

2nd  row:  Make  one,  knit  two  together,  and  knit  one, 
repeating  till  only  four  are  left  on  the  needle.  Now 
take  three  strands  of  fringe  (which  consists  of  the  twine 
cut  in  pieces  twenty  inches  in  length),  lay  them  across 
the  work  between  the  needles,  knit  one  stitch;  bring 
the  other  end  of  the  fringe  over  toward  you;  kuit  two 
stitches,  then  put  it  all  back  across  the  work  together, 
and  knit  last  stitch. 

3rd  and  5th  row  must  be  knitted  like  the  first  row; 
fourth  and  sixth  like  the  second  row. 

7th  row:  Knit  plain. 

8th  row:  Purl,  putting  in  fringe  as  before. 

9th  row:  Knit  five  plain,  put  your  thread  over  your 
needle  twice;  then  knit  one,  and  repeat  till  the  last 
stitch,  which  is  knitted  plain  without  putting  the  thread 
over  the  needle  before  it. 

10th  row:  Purl  two,  slipping  off  the  thread  that  has 
been  put  twice  over  the  needle.  Take  six  stitches  on 
your  needle,  slipping  the  thread  off  between.  Cross  the 
three  back  stitches  over  the  front  ones,  then  purl  them 
all  through.  When  there  are  nine  stitches  left  on  the 
needle,  purl  five;  then  put  in  the  fringe. 

11th  row:  Knit  plain. 

12th  row:  Purl  and  put  in  the  fringe. 

Repeat  from  first  row,  until  you  have  the  necessary 
length. 

CHILD’S  PETTICOAT. 

The  number  of  stitches  to  be  used  for  this  child’s 


AND  HOW  TO  USE  THEM , 


283 


petticoat  will,  of  course,  vary  according  to  the  yarn  and 
needles  used.  The  model  is  knit  in  red  and  white 
doubled  Shetland  lambs’s  wool;  it  will  take  two  ounces 
of  red,  and  three  of  white  wool. 

Oast  on  two  hundred  and  sixteen  stitches  with  the  red 
wool. 

1st  row:  Purl. 

2nd  row:  Knit  plain. 

3rd  row:  Purl. 

4th  row:  Knit  plain. 

5th  row:  Slip  one,  knit  two  together,  knit  three,  * 
make  one,  knit  one,  make  one,  knit  three,  knit  two 
together,  make  one,  knit  two  together,  knit  three, 
repeat  from  *  to  the  end  of  the  row. 

Sixth  row :  Purl. 

7th  row:  Like  the  fifth. 

8th  row:  Purl. 

9th  row:  Like  the  fifth. 

10th  row:  Purl. 

11th  row:  Like  the  fifth. 

12th  row:  Purl. 

13th  row:  Like  the  fifth. 

14th  row:  Join  in  the  white  wool,  and  purl  the  row. 

15th  row:  Purl. 

16th  row:  Knit  plain. 

17th  row:  Purl. 

18th  row :  Purl. 

19th  row:  Knit  plain. 

20th  and  following  rows,  alternately  like  the  fifth  and 
sixth  rows,  until  thirteen  rows  of  white  have  been  knit¬ 
ted;  then  join  on  the  red  and  repeat  from  the  fourteenth. 
Repeat  these  patterns  until  there  are  three  patterns  of 
red  and  two  of  white.  Join  on  the  white  wool  and  knit 


forty-eight  rows  in  brioche  stitch ;  in  the  first  row  take 
three  stitches  together  at  the  end  of  the  row. 

This  petticoat  is  very  pretty  knit  in  pale  blue  German- 


28-1 


NEEDLES  AND  BRUSHES 


town  wool.  One  hundred  and  fifty  stitches  will  be  suffi¬ 
cient  then.  By  using  a  greater  number  of  stitches  hand¬ 
some  skirts  can  be  knit  for  ladies’  wear.  They  are  more 
comfortable  when  set  on  a  muslin  yoke.  They  can  be 
knit  in  two  or  more  breadths  and  then  sewed  together. 

One  of  the  greatest  comforts  to  an  old  person  or  an 
invalid  is  a  pair  of  bed-shoes,  and  they  are  so  easy  of 
execution  that  a  child  could  knit  a  pair  without  any 
difficulty.  They  are  knit  of  double  zephyr  on  bone  or 
wooden  needles.  Oast  on  thirty  stitches,  and  knit  two 
rows  plain;  then  one  row  of  holes  made  as  follows:  knit 
one,  throw  thread  forward,  knit  two  together,  repeat  to 
end  of  row. 

The  succeeding  work  is  all  plain  knitting  (always  slip¬ 
ping  the  first  stitch)  until  you  have  a  piece  two  fingers 
in  length;  knit  another  row  of  holes,  two  more  of  plain 
knitting,  and  cast  off.  Double  the  oblong  piece  thus 
obtained,  sew  up  the  ends,  and  run  a  piece  of  elastic 
through  the  holes  long  enough  to  fit  round  the  foot  from 
the  heel  over  the  instep.  Finish  with  a  bow  of  ribbon 
on  one  of  the  seams.  These  look  odd  until  worn,  but  fit 
the  foot  delightfully,  and  are  an  untold  comfort  to  any 
one  who  suffers  from  cold  feet. 

Double  knitting  is  simple  and  very  useful  for  cradle 
and  crib  blankets.  To  work  it  cast  on  the  requisite 
number  of  stitches  in  wool  (the  kind  depending  on  the 
warmth  required;  single  zephyr  or  Germantown  are  both 
useful),  and  knit  four  or  five  rows  plain.  Then  knit  four 
stitches  plain,  *  bring  the  wool  to  the  front,  slip  a  stitch 
and  pass  the  wool  back,  and  knit  the  next  stitch;  repeat 
from  *  to  the  last  four  stitches,  which  are  to  be  knit 
plain.  For  the  next  row  knit  the  slipped  stitch,  and 
slip  the  knit  one,  always  bringing  the  wool  forward  be¬ 
fore  slipping  the  stitch,  anti  returning  it  to  the  back  of 
the  work  after  so  doing.  If  you  knit  tightly  it  is  advis¬ 
able  to  wind  jour  wool  twice  round  the  needle  in  knit- 


AND  NOW  TO  USE  THEM. 


285 


ting  the  stitches  of  the  double  part,  but  be  careful  not 
to  increase  the  number  of  stitches. 

PATCHWORK. 

Patchwork  is  by  no  means  without  its  literary  associa¬ 
tions.  Mary  Scudder’s  attic  boudoir,  curtained  off  with 
patchwork  quilts,  has  been  pictured  by  Mrs.  Stowe's 
pleasant  pen,  and,  in  the  same  novel,  Miss  Prissy’s 
enthusiasm  over  a  new  quilting  pattern  is  quite  realistic 
to  any  who  have  attended  the  country  sewing  societies 
of  a  few  years  ago,  where  “  rising  sun  ”  and  “  basket  ” 
patterns  were  solemnly  discussed.  But  the  old  fashioned 
patchwork  quilts  are  “  out,  ”  and  crazy  quilts  are  “  in,  ” 
so  I  give  a  few  practical  directions  for  this  work. 

The  first  thing  is  to  collect  scraps  of  silk,  satin> 
plush,  velvet,  etc.  Very  good  packages  of  silk  may  be 
bought  at  most  of  the  large  city  stores,  but  you  need  not 
confine  yourselves  entirely  to  new  pieces.  Any  scraps 
that  are  bright  and  fresh  can  be  used.  A  good  deal  of 
black  is  desirable,  and  you  should  by  all  means  have  a 
varied  assortment  of  colors.  Soft  shades,  and  neutral 
tints  are  very  useful.  Brocades  are  especially  desirable. 
It  is  wise  to  begin  with  a  small  piece  of  work,  such  as  a 
sofa-pillow  or  a  border  for  a  table-scarf,  or  a  chair-seat, 
and  thus  save  yourself  from  becoming  discouraged  by 
too  great  an  undertaking. 

A  band  of  patchwork  can  be  inserted  between  two 
pieces  of  plain  material,  such  as  satin,  velvet,  plush  or 
silk.  Take  a  piece  of  thin  muslin  or  cheese-cloth  for  a 
foundation,  and  on  this  baste  your  pieces,  turning  in  the 
edges  as  in  log-cabin  patchwork.  If  you  wish  your  work 
to  be  artistic  have  a  plan  or  motive  in  laying  out  your 
work.  For  instance,  if  you  are  making  a  band  for  a 
table-scarf,  you  can  have  a  series  of  square  or  oblong 
tiles  of  a  plain  material,  each  one  embroidered  with  a 


286 


NEEDLES  AND  BRUSHES 


handsome  design.  Or  you  may  have  a  number  of  small 
round  fans,  the  sticks  being  worked  in  heavy  chain- 
stitch,  and  appropriate  designs  in  outline  can  be  worked 
(after  you  have  all  your  pieces  in  place)  on  each  fan. 
These  should  be  arranged  with  as  little  stiffness  as 
possible,  and  then  the  spaces  between  must  be  filled  in 
with  a  mosaic  of  small  pieces.  Care  must  be  taken  to 
arrange  the  colors  harmoniously,  using  neutral  tints  to 
separate  violently  contrasting  hues.  Having  arranged 
all  your  pieces  to  your  own  satisfaction,  the  next  step  is 
to  work  all  the  seams  with  fancy  stitches  in  various 
colors.  All  your  odds  and  ends  of  embroidery  silks  will 
now  be  useful.  Spangles,  gold  and  silver  thread,  and 
flat  gold  braids  are  also  used  with  good  effect.  Great 
attention  must  be  paid  to  “  keeping  the  balance  true.” 
That  is,  the  ornamentation  must  be  evenly  distributed, 
not  massed  in  any  one  spot.  The  same  thing  is  true  of 
the  colors,  which  should  be  so  managed  as  to  avoid  any 
patchy  effects.  All  sorts  of  fancy  stitches  can  be  used 
for  working  the  seams.  Brier,  coral,  buttonhole,  and 
point  russe  stitches  are  the  most  common,  but  a  clever 
worker  can  make  up  many  ornamental  ones  to  suit  her 
own  fancy.  For  instance,  a  wide  row  of  herringbone  of 
black  silk  can  have  a  fan  of  three  or  five  stitches  of  a 
bright  color  worked  at  each  point.  For  another  place, 
the  herringbone  can  be  of  the  color  and  the  fans  of 
black.  Railroad  stitch  is  very  pretty  also;  it  is  quickly 
worked. 

I  recently  saw  a  most  beautiful  quilt,  a  description  of 
which  may  prove  suggestive  to  some  of  my  readers.  The 
centre  was  a  square  of  embroidered  satin,  the  corners  of 
which  were  cut  off  by  the  rounding  edges  of  four  large 
Japanese  fans,  of  the  folding  kind.  The  mounts  or  up¬ 
per  parts  of  these  fans  were  made  of  alternate  strips  of 
two  contrasting  colors,  black,  I  think,  being  one  of  these 
in  all  the  fans.  Across  these  a  Japanesque  floral  pattern 


AND  HOW  TO  USE  THEM. 


287 


was  worked .  The  sticks  were  indicated  by  embroidery . 
Between  these  main  blocks  was  a  ground-work  of  mosaic 
worked  dainrily  with  fancy  stitches  and  a  few  wee  bits 
of  floral  decoration.  On  a  rather  large  space  of  the 
mosaic  was  worked  the  monogram  of  the  owner,  and  be¬ 
low  that,  with  a  spray  of  forget-me-not  intervening,  the 
date  when  the  work  was  done.  The  whole  was  edged 
with  lace  having  the  outlines  of  the  pattern  run  with 
colored  silk,  and  was  handsomely  lined.  A  good  quality 
of  silesia  will  do  for  a  lining,  though  silk  is  much  to  be 
preferred.  A  thin  layer  of  wadding  should  be  placed 
between  the  lining  and  the  outside  and  caught  together 
at  intervals,  but  anything  like  regular  quilting  should 
be  avoided. 

Another  beautiful  piece  of  crazy  work  was  a  band  for 
a  portiere  in  which  two  or  three  colors  were  so  arranged 
as  to  shade  from  dark  at  the  ends  to  light  in  the  centre. 
The  ornamentation,  in  this  case,  was  extremely  rich,  and 
gold  thread,  etc.,  was  lavishly  used. 

This  patchwork  can  also  be  made  from  nice  woolen 
pieces  worked  with  crewels,  and  the  latest  attempt  at  it 
which  I  have  seen  was  a  bedside  rug,  made  of  odd  bits 
of  Brussels  carpet,  arranged  smoothly  on  a  strong- 
foundation  of  hemp  carpeting  or  ticking,  and  the  seams 
covered  with  worsted  braid  worked  with  crewels  and 
silks.  This  struck  me  as  a  peculiarly  happy  way  of 
disposing  of  those  bits  of  carpeting  which  are  so  apt  to 
tantalize  the  housekeeper  in  her  spring  cleaning.  I 
dare  say,  too,  a  small  sum  would  purchase  a  sufficient 
variety  of  remnants  to  make  several  large  and  handsome 
to  say  nothing  of  durable  rugs. 

A  few  of  the  old  homespun  sheets  of  our  grandmothers 
days,  still  remain  as  treasures  in  some  families.  A  good 
use  to  put  them  to  is  to  convert  them  into  summer 
counterpanes,  decorating  them  either  with  crewel  work, 
or  with  floral  designs  in  turkey  red  or  ingrain  blue  calico 


288 


NEEDLES  AND  BRUSHES 


appliquM  on  to  the  linen,  the  veins  being  worked  in 
with  black  on  a  darker  shade  of  the  same  color,  as  the 
calico,  and  the  leaves  and  flowers  connected  by  graceful 
lines  of  stem  stitch.  Such  quilts,  made  in  the  time  of 
Queen  Anne,  have  been  preserved  to  the  present  day. 

A  rather  unique  quilt  was  made  by  a  friend  of  mine  as 
a  gift  to  her  minister’s  baby.  It  was  made  of  alternate 
blocks  of  white  and  colored  calico,  and  on  the  white 
blocks,  the  letters  of  the  alphabet,  cut  from  red  or  blue 
calico  were  appliqued. 

The  down  from  many  different  plants  can  be  gathered 
through  the  summer,  and  used  to  stuff  small  bags  neatly 
made,  which,  when  a  number  are  sewed  together  will 
furnish  a  very  good  imitation  of  a  down  quilt.  The 
small  white  everlasting  flower,  sometimes  called  moon¬ 
shine,  furnishes  quite  a  good  amount  of  this  vegetable 
down. 


:  l 


ODDS  AND  ENDS 


la  looking  over  my  note-book,  I  find,  as  often  happens 
to  a  housekeeper  in  clearing  ont  closets  and  drawers, 
quite  a  number  of  things  noted  down  which  cannot 
easily  be  classified.  Such  “  hints  ”  I  have  reserved  for 
this  final  chapter  of  “  odds  and  ends,”  in  which  sugges¬ 
tions  for  both  useful  and  ornamental  work  will  be  found. 

CLOSET  BAGS. 

Amongst  the  novelties  brought  out  last  winter  was  a 
closet  bag  which  recommended  itself  by  its  great  capa¬ 
bilities  in  the  way  of  holding  the  innumerable  necessary 
articles  which  so  tend  to  “clutter  up”  closet  shelves  and 
floors.  I  give  the  dimensions  of  the  one  in  my  possession, 
although  these  might  be  altered  to  suit  the  space  where 
the  bag  is  to  hang. 

Three  and  a  half  yards  of  good  cretonue  are  needed 
together  with  alpaca  braid  of  a  suitable  color,  and  a 
number  of  stout  eyes,  by  which  the  bag  is  fastened  to 
the  wall.  The  foundation  of  the  bag  is  made  of  a  piece 
of  cretonne  twenty-six  inches  wide  and  fifty-four  inches 
inches  deep.  Cut  out  a  piece  of  cretonne  thirty  and  one 
half  inches  deep,  twenty-six  and  one  half  inches  wide  at 
the  top,  and  sloping  on  either  side  to  a  width  of  sixteen 
and  one  hali  inches  at  the  bottom.  Cut  the  upper  part 
into  a  deep  concave  scallop.  Bind  the  top  with  a  piece 
of  braid.  This  piece  forms  two  pockets  for  the  reception 
289 


NEEDL  ES  A  ND  B  R  USEES 


2‘JO 

of  umbrellas  and  parasols.  It  must  be  placed  in  the 
middle  of  the  lower  part  of  the  back  piece,  basting  the 
middle  of  the  pocket  to  the  middle  of  the  back,  and  lay¬ 
ing  the  lower  part  in  a  box  pleat  on  either  side  of  this 
seam.  Stitch  this  middle  seam  firmly  down,  and  cover 
it  with  a  piece  of  braid.  To  make  these  umbrella  cases 
set  well,  baste  the  box  pleats  down  the  length  of  the 
pocket  and  then  baste  the  whole  pocket  smoothly  on  to 
the  back.  On  either  side  of  this  middle  compartment 
place  three  pockets  graduated  in  size  as  follows,  remem¬ 
bering  to  lay  a  box  pleat  in  each  one  before  putting  it  on 
the  back.  The  dimensions  for  the  pockets  are  as  follows: 
twelve  by  fifteen  inches  for  the  lowest;  nine  and  a  half 
by  fifteen  for  the  middle  one;  and  eight  by  twelve  for 
the  top  one.  Of  course,  one  side  must  be  sloped  a  little 
to  accommodate  the  slope  of  the  umbrella  cases.  Cover 
I  lie  seams  between  the  side  and  central  pockets  with 
braid.  Above  these  put  on  three  pockets  fourteen  inches 
deep  by  sixteen  inches  wide  (before  the  box  pleat  is  laid), 
binding  and  dividing  these  by  braid.  Cut  a  slanting 
piece  off  each  upper  corner,  leaving  room  for  a  small 
pocket  six  and  one-half  inches  in  depth  by  eleven  inches 
in  width. 

Bind  with  braid,  and  sew  large  eyes  all  round  the  bag 
at  regular  distances  by.  which  it  may  be  fastened  with 
large  tacks  to  the  door  or  wall. 

Every  one  who  has  to  pack  a  trunk  often,  knows  the 
t rouble  of  doing  up  shoes  comfortably.  A  number  of 
small  bags  or  eases  made  of  any  stout  material  will  be 
found  a  great  convenience.  These  can  be  made  to  accom¬ 
modate  either  a  single  shoe  or  a  pair,  and  may  be  in 
the  form  of  an  oblong  bag  with  a  running  string,  or  made 
like  a  pocket  with  a  flat*  coming  over  the  top  and  but¬ 
toning.  Of  course,  these  can  be  ornamented  or  not  at 
pleasure,  but  if  made  of  stout  brown  drilling,  and  marked 
in  indelible  ink  with  the  name  of  the  shoe  they  are  to 


AND  HOW  TO  USE  THEM. 


291 


jontaiu,  they  will  be  found  even  though  not  “  tilings  of 
oeauty,”  yet  “joys  forever.” 

The  following  ingenious  way  of  covering  bottles  may 


Fig.  134. 


be  found  useful  for  those  extremely  awkward  bottles  in 
which  German  eau  de  cologne  is  bought. 

Procure  some  tine  but  good  twine  and  a  packing  needle 
through  which  the  twine  can  be  threaded.  Tie  a  piece 
tightly  round  the  neck,  carry  it  down  the  side,  and  tie  it 
round  the  bottom  of  the  bottle,  up  the  opposite  side, 
round  the  neck  again,  and  down  to  the  bottom.  Thread 
the  twine  and  work  from  the  bottom  to  the  neck.  Make 
a  row  of  close  buttonhole  stitches  over  the  loop  at  the 
bottom,  to  begin  with,  and  then  work  rows  of  loose  but¬ 
tonhole  stitches  round  and  round  the  bottle.  Overcast 
the  loops  round  the  neck  and  plait  a  string  to  hang  up 
by.  If  you  have  a  Chinese  ginger  jar  with  the  cane  net 
work  which  is  generally  over  them,  you  will  see  immedi¬ 
ately  how  the  foundation  loops  are  to  be  put  on. 

TABLE  MATS. 

Very  serviceable  mats  can  be  made  of  a  kind  of  twine 
plait  work,  executed  as  follows  :  You  will  need  for  this 


292 


NEEDLES  AND  BRUSHES 


work  a  wooden  frame  about  the  size  and  shape  of  the 
mat  you  propose  making,  with  rows  of  pegs  or  large  pins 
inserted  at  the  top  and  bottom.  Common  seine  twine 
can  be  used,  the  size  to  be  chosen  to  suit  your  taste. 
Double  the  string  and  wind  it  up  and  down  the  frame  in 
the  pegs  until  it  is  quite  full.  Now  thread  a  small 
packing  needle  with  the  twine,  using  it  double,  and 
darn  in  and  out  of  the  strands,  over  two,  and  under  two. 
Cut  the  twine  off  at  the  end  of  each  line  of  darning. 
When  the  whole  is  darned,  brush  the  back  well  over 
with  thick  paste  while  the  mat  is  still  in  the  frame, 
and  let  it  get  thoroughly  dry.  Have  ready  a  piece  ot 
mill  board  cut  to  the  required  shape  and  covered  on  one 
side  with  cambric  or  merino.  Cut  the  plait  work  to  tit 
the  foundation,  and  baste  the  edges  firmly  to  the  mill 
board,  binding  with  ribbon  or  tape  to  match  the  lining. 
To  finish  the  mat  plait  nine  strands  in  a  three  plait 
braid  and  sew  over  the  binding,  it'  the  plait  work  is 
heavy  enough,  the  mill-board  can  be  dispensed  with. 
Two  or  more  colors  can  be  used  in  the  work  thus  produc¬ 
ing  a  checkered  pattern.  Cross  work  patterns  can  also 
be  worked  on  them. 

TO  TRANSFER  COLORED  PLATES  TO  GLASS. 

Very  pretty  transparencies  can  be  made  by  carefully 
transferring  good  colored  plates  to  glass,  by  the  follow¬ 
ing  process: 

Lay  a  smooth,  thin  coat  of  Venice  turpentine  on  the 
glass,  and  then  take  the  print  and  wet  it  on  the  back 
with  a  sponge  dipped  in  water.  Make  it  moist  enough 
to  render  the  picture  soft,  without  being  watery.  Lay 
the  picture,  face  downwards,  on  the  turpentine,  now 
carefully  rub  the  paper  away  on  the  back  with  the  fing¬ 
ers.  If  the  paper  dries  too  much  before  it  is  finished, 
it  must  be  wetted  again.  When  all  the  paper  is  worked 
o‘f,  let  it  drv.  and  with  a  fine  camel’s  hair  brush,  lay  a 


AND  EOW  TO  USE  TEEM 


293 


coat  of  oil  of  turpentine  over  the  whole.  1  have  seen 
prints  transferred  to  white  wood  in  the  same  way.  In 
this  case,  the  wood  was  carefully  varnished  and  polished 
after  the  design  was  laid  on.  Great  care  should  be 
exercised  in  rubbing  off  the  paper  at  the  back,  as  it 
is  an  exceedingly  easy  matter  to  rub  through  to  the 
glass. 

UTILIZING  PEACH  BASKETS. 

Very  serviceable  and  pretty  scrap  baskets  can  be  made 
from  peach  baskets,  by  painting  them  black  or  any 
desirable  color,  and  then  ornamenting  them  with  a  band 
of  embroidery,  or  a  drapery  of  crochet  or  macrame  fringe. 
Several  coats  of  paint  should  be  put  on  to  hide  the 
roughness  of  the  basket,  which  should  be  lined  with  a 
suitable  color.  A  pocket  on  one  side  for  scraps  which 
suggest  doubts  as  to  the  propriety  of  throwing  them 
away  will  prove  a  useful  addition. 

A  small  peach  basket  similarly  treated,  would  prove 
a  convenient  ornament  for  some  sitting  room  mantel¬ 
pieces,  to  be  used  as  a  receptacle  for  the  various 
articles  which  are  apt  to  gather  there. 

Two  of  the  large  peach  baskets  fastened  together  at 
the  lower  end,  so  as  to  form  an  hour  glass,  and  either 
painted  or  covered  with  cretonne,  gathered  at  narrowest 
part  with  a  band  of  cretonne  bound  with  braid  or  else 
with  a  ribbon,  makes  an  excellent  work  basket  for  hold¬ 
ing  large  pieces  of  fancy  work,  or  it  may  be  used  as  the 
family  mending  basket.  If  used  for  the  latter,  one  or 
more  pockets  should  be  put  on  the  lining  of  the  upper 
basket  for  holding  pieces  and  the  other  necessary  aids 
to  darning  and  mending.  A  brace  of  inch  wood  in  the 
shape  of  a  cross  put  at  the  bottom  will  serve  to  balance 
the  home-made  table.  If  wished,  acover  of  heavy  mill- 
board  covered  with  cretonne  can  be  fitted,  to  the  upper 
basket  or  if  the  table  basket  is  painted  and  trimmed 


294 


NEEDLES  AND  BRUSHES 


with  fringe,  felt  or  serge  of  the  color  used  in  painting 
can  be  employed. 

SCRAP  RUGS. 

Reference  has  been  made,  in  the  chapter  on  knitting, 
to  rugs  made  out  of  scraps  of  woolen  cloth.  Another 
kind  can  be  made  very  easily  as  follows  :  Cut  your 
scraps  (which  may  be  of  all  varieties  of  material  only- 
taking  care  that  woolen  pieces  form  a  large  proportion) 
into  inch  squares.  Take  a  piece  of  twine  three  or  four 
yards  long  and  a  needle  sufficiently  coarse  to  carry  the 
twine ;  thread  your  pieces  of  cloth  on  the  twine  as  though 
they  were  beads.  When  you  have  a  sufficient  number 
threaded,  taking  care  to  crowd  them  on  the  string,  fasten 
your  twine  well  iuto  the  last  two  or  three  stitches.  Xow 
roll  the  string  of  scraps  round  and  round,  taking  long 
stitches  through  and  through  to  keep  it  flat.  When  it  is 
quite  firm,  lay  the  mat  on  the  floor  or  a  table  and  pare 
away  the  rough  edges  on  both  sides  until  the  rug  is 
about  half  its  original  thickness.  If  an  oblong  mat  is 
preferred,  it  can  be  made  by.  making  a  number  of  strings 
of  pieces,  as  long  as  the  desired  width  of  the  rug,  sew¬ 
ing  these  strips  firmly  together.  A  border  can  be 
arranged  without  much  trouble.  It  is  worth  while  to  try 
a  little  yellow  or  orange  colored  flannel  to  mix  with  the 
other  scraps,  because  it  adds  so  greatly  to  the  effect. 
The  patent  dyes  can  be  used  for  old  white  flannel.  Some 
white  is  also  an  improvement,  time  turning  it  down  to  a 
harmonious  gray. 

I  have  seen  very  handsome  rugs  made  of  pieces  of 
woolen  cloth  cut  to  a  uniform  size  and  then  sewed  on  to 
a  ticking  foundation.  In  some,  quite  elaborate  designs 
had  been  attempted  but  the  prettiest  were  those  which 
were  made  with  a  centre  of  mixed  colors  and  a  border  of 
black.  In  many  places,  materials  for  these  rugs  can  be 
obtained  at  a  very  moderate  cost,  at  a  tailor's  shop. 


AND  HOW  TO  USE  THEM. 


295 


Mr.  Howell  in  “  The  Lady  of  the  Aroostook  ”  in 
describing  the  Captain’s  state-room  alludes  to  still 
another  kind  of  rug  work  called  “  hooking.”  The 
materials  for  this  work  are  sold  in  some  cities  under  the 
name  of  materials  for  “  Home-made  Turkish  Rugs.  ”  At 
these  places  quite  elaborate  patterns  can  be  obtained 
ready  stamped  for  working.  A  piece  of  coarse  burlaps 
or  coffee  bagging,  a  very  large  stout  hook  like  a  crochet 
hook,  and  a  good  assortment  of  rags  are  all  that  is  nec-i 
essary  for  this  work.  Cut  the  rags  very  much  as  you  do 
for  rag  carpeting.  I  have  found  it  convenient  to  sew, 
mine  into  long  strips,  varying  the  color  frequently. 

Stretch  your  burlaps  in  a  frame,  just  a  little  larger 
than  the  rug  will  be.  Wind  this  frame  with  list  and 
fasten  the  burlaps  firmly  in.  Define  the  outer  and  inner 
edges  of  the  border  with  a  thread  of  coarse  or  darning 
cotton  or  a  charcoal  line.  Holding  your  piece  of  cloth 
under  the  frame,  put  your  hook  through  the  burlaps 
from  the  right  side  and  draw  a  loop  through  to  a  length 
of  about  three-fourths  of  an  inch;  repeat  this  every 
three  or  four  threads,  according  to  the  width  and  quality 
of  your  pieces.  AVhen  you  have  worked  quite  a  space, 
shear  it  off  evenly  with  large  scissors.  This  is  done 
much  more  easily  as  the  work  progresses  than  if  you 
wait  till  the  whole  is  done.  A  little'  practice  soon 
teaches  you  how  far  apart  to  put  your  work  in.  When 
geometrical  patterns  are  stamped  on  the  burlaps,  very 
excellent  imitations  of  Turkey  rugs  can  be  made.  These 
patterns  can  be  bought  at  quite  low  prices. 

In  Fig.  1B5,  a  very  pretty  style  of  needlework  is  used 
for  ornamenting  a  pillow  case  cover.  The  design  must 
be  enlarged  and  transferred  to  the  material,  and  the 
work  is  executed  in  buttonhole  stitch  with  white  embroid¬ 
ery  cotton,  after  which  the  linen  between  the  design  fig¬ 
ures  is  cut  away.  Bureau  and  table  scarfs  can  be 
ornamented  in  the  same  way. 


296 


NEEDLES  AND  BRUSHES 


A  remarkable  pretty  little  basket  came  under  my 
notice  the  other  day,  and  the  maker  very  kindly  gave  me 
directions  for  making  it.  The  foundation  consisted  of  a 


Fig.  135 

elliptical  piece  of  cork  covered  on  the  one  side  with 
some  inexpensive  material,  on  the  other  with  light 
blue  satin  on  which  a  spray  of  apple  blossoms  was 
painted.  Into  the  upper  side  of  this  piece  of  cork,  pins 
(rather  large  ones)  were  stuck  at  regular  intervals,  and 
put  in  so  as  to  flare  a  little.  Shaded  silks  were  then 
woven  in  and  out  of  these  pins  in  such  a  way  as  to  leave 
alternate  open  spaces  between  the  pins.  Then  the  bas¬ 
ket  was  turned  upside  down,  and  pins  stuck  in  and 
wound  in  the  same  way  for  a  standard.  The  handle  was 
made  of  a  piece  of  whalebone  covered  with  narrow  rib¬ 
bon  in  two  colors.  Much  of  the  beauty  in  such  a  basket 
would  depend  on  the  colors  employed  and  the  perfect 
accuracy  and  neatness  of  the  work. 


AND  110  IF  TO  USE  THEM, 


297 


TO  MAKE  PICTURES  OF  BIRDS  WITH  THEIR  NATURAL 
FEATHERS. 

The  following  directions  are  taken  from  the  “  Family 
Friend ,”  an  English  journal  devoting  much  space  to 
“  fancy  work.  ” 

First  take  a  thin  board  or  panel  of  deal  or  wainscot, 
well  seasoned,  that  it  may  not  shrink;  then  smoothly 
paste  on  it  white  paper,  and  let  it  dry,  and  if  the  wood 
casts  its  color  through,  paste  on  it  another  paper  till 
perfectly  white;  let  it  stand  till  quite  dry,  and  then  get 
any  bird  you  would  represent,  and  draw  its  figure  as 
exactly  as  possible  on  the  papered  panel  (middle-sized 
birds  are  the  best  for  the  purpose);  then  paint  what  tree 
or  ground-work  you  intend  to  set  your  bird  upon,  also  its 
bill  and  legs,  leaving  the  rest  of  the  body  to  be  covered 
with  its  own  feathers.  You  must  next  prepare  that  part 
to  be  feathered  by  laying  on  thick  gum  arabic,  dissolved 
in  water;  lay  it  on  with  a  large  camel’s  hair  pencil,  and 
let  it  dry;  lay  on  successive  coats,  drying  each  one  until 
you  have  a  good  body  on  the  paper  as  thick,  at  least,  as 
a  twenty -five  cent  piece;  let  it  dry  quite  hard. 

Take  the  feathers  off  the  bird  as  you  use  them,  begin¬ 
ning  at  the  tail  and  points  of  the  wings,  and  working 
upwards  to  the  head,  observing  to  cover  each  part  of 
your  draught  with  the  feathers  taken  from  the  same  part 
of  the  bird,  letting  them  fall  over  one  another  in  the 
natural  order.  You  must  prepare  your  feathers  by  cut¬ 
ting  off  tne  downy  parts  that  are  about  their  stems,  and 
the  large  feathers  must  have  the  insides  of  their  shafts 
shaved  off  with  a  sharp  knife,  to  make  them  lie  flat;  the 
quills  of  the  wings  must  have  their  inner  webs  clipped 
off,  so  that  in  laying  them  the  gum  may  hold  them  by  their 
shafts.  When  you  begin  to  lay  them,  take  a  pair  of  steel 
pliers  to  hold  the  feathers  in,  and  have  some  gum-water, 
not  too  thin,  and  a  large  camel’s  hair  pencil  ready  to 


298 


NEEDLES  AND  BRUSHES 


moisten  the  grouml-work  by  little  ami  little  as  you  work 
it;  then  lay  your  feathers  ou  the  moistened  parts,  which 
must  not  be  waterish,  but  only  clammy ,  to  hold  the 
feathers.  You  must  have  prepared  a  great  many  sugar- 
loaf-shaped  leaden  weights,  which  you  may  form  by  cast- 
ting  the  lead  into  sand,  in  which  shapes  or  moulds  for  it 
have  been  made  by  means  of  a  pointed  stick  prodded  all 
over  the  surface,  leaving  small  holes  to  receive  the 
melted  lead.  These  weights  will  be  necessary  to  set  on 
the  feathers  when  you  have  merely  laid  them  on,  in  order 
to  press  them  into  the  gum  till  they  are  fixed;  but  you 
must  be  cautious  lest  the  gum  comes  through  the  feath¬ 
ers,  for  it  would  not  only  smear  them,  but  would  stick  to 
the  bottoms  of  the  little  weights;  and  in  taking  them  off 
you  would  bring  the  feathers  also,  which  would  quite 
disarrange  your  work;  be  cautious,  therefore,  not  to 
have  your  coat  of  gum  too  moist  or  wet.  When  you 
have  wholly  covered  your  bird  with  its  feathers,  you 
must,  with  a  little  thick  gum,  stick  on  a  piece  of  paper, 
cut  round,  of  the  size  of  an  eye,  which  you  must  color  to 
resemble  the  eye  of  a  bird  if  you  cannot  procure  a  glass 
one  of  the  kind;  and  when  the  whole  is  dry,  you  must 
dress  the  feathers  all  round  the  outline  (such  as  may 
have  chanced  to  start),  and  rectify  all  defects  in  every 
other  part;  then  lay  on  it  a  sheet  of  clean  paper,  and  a 
heavy  weight,  such  as  a  book,  to  press  it;  after  which 
it  may  be  .preserved  in  a  glass-frame,  such  as  are  used 
for  pieces  of  shell-work,  etc. 

A  WALL  BASKET. 

A  very  convenient  wall  pocket  can  be  made  from  a 
good  sized  Japanese  fan,  cretonne  and  ribbon.  Cover 
tlie  fan  with  cretonne  and  put  on  a  pocket  of  the  same. 
Trim  with  pleated  ribbon  and  a  bow  on  the  handle.  Cov¬ 
ered  with  quilted  silk,  or  satin  on  which  a  floral  design 
is  worked  or  painted,  makes  a  very  handsome  affair. 


AND  IIOW  TO  USE  THEM. 


299' 


HOME-MADE  PICTURE  FRAME. 

It  is  sometimes  desirable  to  frame  pictures  at  home. 
Here  are  a  few  directions  as  to  doing  it. 

if  the  margin  of  your  engraving  or  picture  is  not  per¬ 
fectly  clean  make  a  “  mat  ”  out  of  tinted  drawing  paper. 
To  do  this  cut  your  paper  the  size  of  the  picture  and  cut 
in  it  an  oval  or  square  through  which  the  picture  may  be 
seen.  It  will  be  necessary  to  draw  the  outline  for  this 
very  carefully,  making  very  accurate  measurements,  so 
that  the  margin  will  be  symmetrical.  If  you  wish  to  draw 
an  oval  and  have  no  mathematical  instruments,  place 
a  string  over  two  pins  firmly  placed  as  foci  of  the  ellipse. 
The  string  should  be  a  little  longer  than  the  distance 
between  the  pins.  Move  a  pencil  round  just  inside  the 
string  and  the  result  will  be  an  ellipse  of  the  required 
form.  About  half  an  inch  outside  of  this  draw  a  second 
oval,  and  with  a  sharp  knife  cut  it  half  through  the  card¬ 
board.  These  two  ovals  must  be  very  sharply  and  neatly 
cut.  The  cardboard  should  be  bent  inward  at  this  cut. 
Take  a  thick  piece  of  cardboard  and  cut  in  it  a  hole  just 
a  little  larger  than  the  one  in  the  “  mat,”  and  paste  the 
latter  on,  laying  the  whole  over  the  picture.  Put  the 
glass  in  its  place  on  the  top  of  the  mat  and  it  to  the 
frame  by  strips  of  leather  paper  or  even  by  very  nice 
strips  of  brown  wrapping  paper  making  an  even  rim 
round  the  margin  of  the  picture,  and  pasting  enough 
over  the  back  to  hold  it  firmly  in  place.  Paste  a  sheet  of 
stout  brown  paper  over  the  back,  inserting  a  piece  of 
tape  holding  a  small  ring  at  the  top  ot  the  frame,  pasting, 
it  firmly  to  the  pasteboord. 

You  can  vary  this  frame  by  rolling  up  some  very  stout 
brown  paper  and  press  it  out  flat  till  it  is  an  inch  or  two 
wide.  Glue  it  into  shape  and  cover  with  tinfoil  glued 
on.  Then  fit  it  to  the  glass,  slanting  the  corners  so  that 
they  will  fit  neatly.  A  little  narrow  margin  of  red  or  blue 


300 


NEE1)  LES  AND  BRUSHES 


velvet  glued  under  the  inner  side  of  t lie  frame  makes  a 
pretty  finish.  Now  glue  the  whole  frame  on  to  the  pic¬ 
ture. 

Xf  you  have  any  old  wooden  frames  you  can  guild  them 

follows  :  Put  some  boiled  liuseed  oil  in  a  saucer  and 
expose  it  to  the  air  for  a  few  days.  Then  mix  with  some 
veiiow  ochre,  ground  in  oil.  This  is  oil  gold  size,  which 
if  you  choose  you  can  buy  ready  mixed.  Give  the  frame 
a  coat  of  white  paint  and  three  days  after  another.  When 
quite  dry,  rub  down  smooth  with  the  finest  quality  of 
glass  paper.  Then  put  on  a  coat  of  gold  size  and  let 
it  stand  for  twenty-four  hours,  when  it  will  be  ready  for 
the  gold  leaf.  To  put  this  on,  take  a  piece  of  tissue 
paper  two  inches  square  and  rub  one  side  lightly  with 
wax.  Get  a  straight  edged  knife  and  cut  the  pieces 
just  the  width  of  the  frame.  Put  the  waxed  side  of  the 
tissue  paper  on  the  gold  leaf,  lift  it  up,  and  lay  it  on  the 
frame;  rub  lightly  on  the  paper  with  the  finger,  and  the 
gold  will  adhere  to  the  frame.  Let  each  piece  lap  over 
the  previous  one  about  an  eighth  of  an  inch,  so  that  the 
joinings  may  not  show.  When  the  frame  is  covered,  put 
over  it  with  cotton  wool.  Set  it  away  for  a  few  hours, 
then  brush  off  the  superfluous  gold,  and  your  frame  is 
done. 

A  FLOWER  POT  COVER. 

Collect  during  the  season  large  bunches  of  wheat, 
barley,  or  other  heads  of  grass  or  reeds.  Cut  out  the 
form  of  the  flower  pot  in  stiff  card -board  or  paste-board. 
Cover  this  neatly  with  rows  of  grass  or  wheat  arranged 
as  closely  as  possible,  tacking  them  closely  around  the 
bottom  and  expanding  them  around  the  top  so  that  they 
will  be  eqidistant  from  each  other.  Then  commencing 
at  the  bottom,  proceed  to  interweave  half  inch  scarlet  or 
other  colored  ribbon  in  and  out  of  the  stalks,  until  the 
heads  (extending  above  the  top)  are  reached,  when  the 


AND  liO)V  TO  USE  THEM. 


301 


* 

end  must  be  securely  fastened  off  and  bidden  with  a 
rosette  or  bow.  When  thus  woven,  cut  the  stitches  top 
and  bottom  and  remove  the  paste-board  foundation. 

A  mat  can  be  formed  by  cutting  out  a  circular  piece  of 
paste  -  board  as  much  larger  than  the  bottom  as  the 
length  of  the  heads  to  be  used.  Cover  this  with  cambric 
of  a  color  suited  to  the  ribbon,  and  fasten  the  heads  of 
grain  around  it  so  that  they  touch  each  other  around  the 
circle  into  which  the  pot  fits,  spreading  like  rays  to  the 
outer  edge. 

Such  a  cover  makes  a  pot  of  flowers  a  beautiful  orna¬ 
ment  for  the  dining  table.  A  pot  of  ferns  fs  especially 
desirable  for  such  a  use. 


WORK-BASKET  WITH  EMBROIDERED  DRAPE. 


Fig.  133. 

The  basket  is  of  fancy  wicker,  the  drape  is  of  ruby 
plush,  with  the  foliage  design  shown  in  Fig.  137,  embroi¬ 
dered  in  outline  stitch  with  green  silk.  It  is  edged  with 
the  trimming  shown  in  Fig.  138,  which  is  Venetian 


302 


NEEDLES  AND  BRUSHES 


•embroidery  worked  in  ruby  silk.  The  dark  portions  of 


Fig.  138. 


A1SD  HOW  TO  USE  THEM. 


303 


wlrich  is  also  used  in  working  the  twisted  bars;  the  satin 
stitch  is  worked  with  old  gold  silk.  When  the  work  is 
finished,  the  silk  is  cut  away  between  the  twisted  bars 
with  sharp  scissors.  The  edge  of  the  deep  scallop  should 
be  worked  in  fine  buttonhole  stitch  with  old  gold.  Bv 
reference  to  Fig.  ISTo.  136  it  will  be  seeu  that  the  single 
scallop  is  repeated  a  sufficient  number  of  times  to  edge 
the  drapery.  The  basket  is  lined  with  ruby  silk  drawn 
up  to  form  a  bag;  it  is  drawn  together  by  silk  cord  and 
tassels.  The  figure  shows  wool  tufs  fastened  at  the  sides 
but  bows  of  satin  ribbon  of  the  colors  emploj’ed  in  work¬ 
ing  would  be  in  better  taste.  The  handle  may  be 
covered  with  a  strip  of  ruby  satin  worked  with  herring¬ 
bone  stitch  in  old  gold. 


A  HOME-MADE  GYPSY  TABLE. 


Fig.  139. 


NEEDLES,  ABB  B  RUSHES 


304 

One  of  these  convenient  little  tables  can  be  easily  made 
f i/o in  3  broomsticks  and  the  top  of  a  Hour  barrel  or  but¬ 
ter  tub.  Cross  the  broomsticks  in  the  middle,  and  nail 
them  securely  in  place.  Cut  the  ends  off  so  that  they 
will  stand  flat  on  the  floor.  Nail  the  cover  of  a  butter 
tub  on  the  top  of  the  tripod.  A  square  top  or  one  in  the 
shape  of  a  trefoil,  can  be  used  in  place  of  a  round  one. 
In  cutting-  off  the  ends  of  the  broomsticks,  you  must  see 
that  you  shorten  them  about  equally  above  and  below 
the  crossing-,  leaving-  your  stand  rather  below  the 
ordinary  table  height.  Tn  the  model  plush  is  used  for 
covering-  the  top  and  legs  of  the  table,  and  crocheted 
lace  is  used  for  a  draping-.  But  the  covering  and  drapery 
can  be  varied  to  suit  the  taste  of  the  maker.  The  legs 
can  be  ebonized  as  directed  on  page  83,  in  the  chapter 
on  wood  carving;  if  liked  a  little  gilding  can  be  put  on 


■mjaamte 


GETTY  CENTER  LIBRARY 


